Tag Archives: memes

Memes and Their Place in Our World

Before this past week’s class, the word “meme” would have generated images with bold, white print—images mocking anything from a declining economy to Katy Perry’s halftime performance. However, I have come to understand a meme in a broader sense and realize just how prevalent these are in everyday life. A chair, for example, can be a meme. No matter where in the world you are, a four-legged seat will always invite you to sit. A mat or mattress on the ground will always be recognized as a bed. If a meme is “a unit of cultural information that replicates while remaining whole”, then these everyday objects can be seen across cultures, conjuring a specific task or purpose. We know how to use a chair the instant we see it, whether it be a recliner or an office chair. What is really being replicated isn’t so much the object itself, but the purpose or idea behind it. If a chair has the essential parts to be a chair, we recognize it and its purpose.

What does this have to do with memes on the internet? In multiple cases, we can see how a meme, even if the image or text isn’t a direct replica of the original, carries a certain notion if it contains the right clues. Take, for example, the two memes below:

Tell Me More White Middle Class Kid Tell Me More Tattoo

 

Though the subject of these memes differs, the implication and tone are the same. Both approach the subject sarcastically, starting with a question to the imaginary listener followed by a rhetorical request to continue with what the speaker perceives as complaining. Since these both have the same syntax and tone, as well as the same image, we understand these to be one meme, known as the “Tell Me More” meme. Just as we can still recognize a chair without arms is to be used for sitting, we understand this meme is meant to convey dislike of a subject using sarcastic rhetorical question. To reiterate, it is not the image and original text that is replicated, it is the idea behind that image and text.

The real interest comes with non-text based memes, such as “Strutting Leo” or “Disaster Girl”. Since the message comes from an image instead of a text, it immediately opens itself to a broader population. Unlike text, images do not have a language barrier. The meaning behind these memes are more far-reaching. Going back to chairs as a meme, a Spanish speaker can recognize the purpose of a chair, just as well as an English speaker can.

Images and text, however, both have one barrier in common—a cultural barrier. With that, I ask, what is a meme if it cannot be understood by a culture? If a viewer of a meme did not know who Leonardo DiCaprio was, would “Strutting Leo” be an effective meme? Even further, let’s say, hypothetically there was a culture that regarded happily walking away from a disaster as “normal”. Would it be funny then? Memes, then, are defined by a culture. If a meme in Japan was meant to make the audience sad, but instead made an American audience laugh, would it still be the same meme? Would it be considered a meme only in Japan, since its cultural relevance in another country is slim to none?

Memes rely on culture to remain alive and to replicate. Like any living thing, they thrive and multiply in the environment they were created in. When that environment changes, either they die or change with it.

Inevitably, the future will be a different environment. Unless memes adapt in that world, they will cease to exist, having lost their relevance.

Fifth Estate

The Fifth Estate refers to a nonphysical entity composed of  bloggers, journalists, and media outlets that operate outside the mainstream media. Operating outside of what is referred to as the Fourth Estate which is the mainstream media, most commonly referring to the news media (especially print journalism). The Fifth Estate may also include political groups, corporations, or other groups outside of the mainstream in their views and function in society.

The platforms that the Fifth Estate is built on are based around algorithms that are typically unseen by the greater fraction of users, unless said user has a background in I.T. or computers. This calls into question how much we as users really know about the technology we’re using.

The Fifth Estate however is also very liberating, as users through social media we have a collective ability to share information, create communities, and to organize social movements.

Thnks fr th Meme-ories

Memes are really interesting because although by the original definition (“A unit of cultural information that is replicated while still remaining whole”) memes are everywhere, the contemporary phenomenon of meme culture is pretty unique. The earliest example of an internet meme I can think of is chain emails (most likely featuring the Ally Mcbeal baby) and the hamster dance as described in the “From Memes to Mashups” article. Then came Youtube Poop mashups (which I always thought were pretty terrible, but were the height of hilarity for my thirteen-year-old twin brother) and I Can Haz Cheezburger cats with weirdly spelled messages in Impact text. Now, memes are everywhere, and have even reached mainstream advertising. The modern meme is a template for a joke that is adapted over and over again in a sort of competition for who can make the funniest application of the joke, usually interacting with pop culture and current events. The problem with this, then, is that memes become over saturated really quickly, and meme shelf life is pretty short, demonstrating the Culture of Disposability we discussed in class.

I hate memes. I really do. If I see another tumblr zodiac post or left shark gif…I don’t know if I’ll make it. But that will never stop me from falling into the same trap as anyone else and adapting the meme for my own use, referencing it, and making my friends laugh/cringe/threaten to murder me. Memes are an easy joke because they have an inherent sort of cultural capital that makes them instantly recognizable and relatable. For this reason, memes could be seen as just lazy comedy. It’s like having an inside joke with the multitudes of people on the internet. There’s another side to this though, that I think is really in line with the ideals of new media, especially as far as audiences actively interacting with their media. People are not just passive viewers; there is a space for critique, appreciation, and creativity in response to what they watch, read, and listen to. Which is awesome! This is especially evident with mashups, which require one to think really unconventionally and blend multiple different media together to make something new. It demands an interaction with and synthesis of totally separate areas of culture.

A really productive way to think about modern memes comes from the original meaning of the word, and the various types of memes that exist outside of the internet (as detailed in the TED talk we watched in class). Memes are ideas that persist, and not always for Darwinian type reasons. Sometimes they may not actually provide any advantage, and they might just be for aesthetic purposes. But the fact is, they are passed on, meaning they hold a place in the narrative of human history. They offer a way of connecting and communicating. Sometimes they’re really dumb, sometimes they’re self aware and next level meta, and sometimes they’re downright pernicious, but all in all they help make up our cultural language. And that’s important. And so are cats.

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Memes to Mashups and Back Again

One of the most interesting things that happened to me in the opening weeks of this course, is learning what a meme actually is, rather than the poorly made image macro that I usually associate with the term. When I heard ‘meme’ before I came to the course I thought of grumpy cat, “Sure Jan”, and various other internet fads.

However after reading Kelli S. Burn’s “From Memes to Mashups; Creating Content from Content”, I gained a greater understanding of what a meme actually is, being defined as “…a unit of cultural information that replicates while still remaining whole” in Burn’s article, while more simply it can be explained as something that can be copied over and over with the meaning remaining the same. At least in my interpretation. This idea really resonated with me as I searched for examples to make sense of what a meme really was, as I struggled to grasp the concept in class. This is where Burn’s article was a real treat for me, by also tackling the ideas of mashups she easily explains what both items are individually while still relating them to each other.

The idea of a meme really clicked for me when we were in class and watching Susan Blackmore’s TED talk on memes. That’s when I truly understood that a meme was not simply an image shared on facebook but was actually the replication of an idea throughout society. The example that made it click for me totally was a comparison my friend made of memes and there relationship to fashion. We used flannel as a specific example; flannel could have originally started as let’s say a lumberjack’s preferred work shirt, as it keeps him warm and is heavy duty. Over time the flannel shirt is replicated for the same purpose over and over, until someone took it and decided to wear it in L.A. with a pair of short shorts. Thus bringing flannel to a different scene completely, yet keeping the same idea as a warm, heavy duty shirt.

However, let’s say that the flannel shirt is changed. The original form is taken and edited by some girl on Etsy. She cut’s out the back and puts in a gigantic lace cut out. By taking the original content and adding her own interpretation to the idea she has successfully created her very first mashup! While Burn’s article mostly focuses on the music aspect of mashups, she does touch on trailer mashups as well. The idea of a mashup is incredibly freeing to me, the ability to take any type of digital media and putting it together to create something altogether different is astounding to me. The practice of mashups almost parodies the idea of original content as it takes that content as a starting point for creation rather than starting with a completely blank canvas. Discussing the idea of mashups in class really made me question how mashups could fit into the world of film, music, and art. As it could lead to incredible new avenues in creative expression as well as storytelling. Which is what Burn’s makes it out to be with her descriptions of “Thru-you”, “The Grey Album”, “Brokeback to the Future”, and other famous mashups but due to the laws surrounding the original pieces of media the mashup is often hunted down. The legal aspect of the mashup was the most troubling aspect of the article for me, as most of the people mentioned in the article as DJs and video editors were not in the job of making mashups for money, but just for fun. But, by getting the legal side of things involved I personally think that they made the mashup famous and immortal. As by bringing so much media attention to it, and the backlash it was facing, it has now become something that can be explored as a more contraband form of expression, or a dangerous art form. By getting involved legally with something perfectly harmless media conglomerates have created their own worst enemy.

As an aside to this post here are two of my very favorite mashups:

Madeon’s “Pop Culture” is a mashup of 39 different songs (check the description for a full list):

[youtube]https://www.youtube.com/watch?v=lTx3G6h2xyA[/youtube]

Kees Van Dijkhuizen Jr. is a 21 year old film student who created a project known as ‘Cinema’ to mashup clips from all (almost) the movies released in a year to show how far cinema has progressed and changed. He did this up until 2012, he also is famous for his ‘[The films of]’ series which highlights the filmographies of famous directors into concise videos to show off there various styles and techniques. The video I’m using here is from 2012, the year I hosted a film festival for my high school senior project and used this as the opener.

[youtube]https://www.youtube.com/watch?v=M1r1tS464jE&list=PL570A2BCEC0545299&index=2[/youtube]

 

Culture of Disposability

From the Burns reading entitled “From Memes to Mashups: Creating Content from Content.”

“In fact, in a culture of disposability, the genre of the mash–up might well have benefited from its underground status, which adds to its subversive cache. The music is effectively contraband and is only permitted to exist to the extent that it remains below a commercial radar.” p. 77

Definition:

  • the notion that products can simply be thrown away, indicating a lack of responsibility for the resources one consumes
  • tiring quickly of clothes, cars, electrical goods, music, etc > throw away > replace
  • disposing of things when they break or fall out of fashion
  • promotes a cycle of consumption
  • causes a person’s relationship with things/items/people to be transient and artificial

The term “culture of disposability” can help to explain the popularity, relevance, success, and dying out of memes and mashups.

Anthropomorphism

Anthropomorphism is name given to the process by which we ascribe human feelings, form and/or motivations to anything that is not human. On the internet, this commonly takes the form of a  meme in which an animal expresses a human emotion. These images are usually a result of a coincidental capturing of the animal in a position that resembles human emotion (a la the badger ‘frowning’ in the included image). Other times, the meme might be playing off of impressions already in place in popular culture (Bachelor Frog is a frog due to its allusion to the ‘Prince Charming’ myth, frogs being generally gross, etc). Perhaps it is easier for the average internet user to empathize with a neutral animal given human emotions, than a human who they can judge and categorize based on any number of physical & social markers.

Templatability

Templatability refers to the feature of having a set structure that is easily manipulated to fit new situations. This allows for content creators to comment upon new situations while alluding to already popular memes on the internet, mainly through image macros or snowclones. In addition, having a set form to work off of makes the process of content creation much easier for users, increasing the fecundity of the templated meme. According to Sean Rintel, this makes the feature of templatability  “the heart of online memes.”

Multiple sites, including “Meme Generator” or “Rage Comic Builder“, make this process even easier by storing templates and making them intuitive and available to those with no access to editing software. They are so easy to produce, in fact, that Rintel notes that they are some of the first methods of expression used to respond to a crisis (for better or for worse.)

Works Cited:

Rintel, Sean.  ”Crisis Memes: The Importance of Templatability to Internet Culture and Freedom of Expression.” Australasian Journal of Popular Culture 2 (2). <http://www.intellectbooks.co.uk/journals/view-Journal,id=202/>

Image Macro

An image macro is an expressive template involving the pairing of image with a caption/catchphrase.  The meaning expressed correlates with the emotion or idea that the picture displays, often resulting in very iconic images becoming memes (i.e. “Scumbag Steve” or “Overly Attached Girlfriend”). The text that is superimposed over the image is usually in large capitalized bold letters, and the phrasing usually follows an easily identifiable and modifiable structure (also known as a snowclone) (Rintel, Crisis Memes).

Some well-known groups of image macros would be LOLcats, Advice Animals, Rage Faces, and Demotivational Posters.

Works Cited:

“Image Macro.” Know Your Meme. Cheeseburger Network, n.d. Web. <http://knowyourmeme.com/memes/image-macros>.

Rintel, Sean.  ”Crisis Memes: The Importance of Templatability to Internet Culture and Freedom of Expression.” Australasian Journal of Popular Culture 2 (2). <http://www.intellectbooks.co.uk/journals/view-Journal,id=202/>

Snowclone

A snowclone is a recognizable and formulaic sentence frame that references a piece of popular and/or internet culture. The template is often used to comment upon any situation which expresses the sentiment of the original snowclone.  It is not to be confused with languages like LOLSpeak, which have certain grammatical and content rules; rather, it is a more “direct verbal template” (Rintel, Crisis Memes). Snowclones are most often attached to an image macro, but will still be recognizable by the sentence structure if represented on a different image or with no image at all.

An example of this is “one does not simply” meme.  The original is from the Lord of the Rings movie franchise (A), but the snowclone has been used for various other memes (B), recognizable from it’s “one does not simply {X}” structure. It still retains the sentiment of cynical expressions of impossibility, even when divorced from its iconic image macro (C).

(A)           (B)                               (C)

According to multiple reports, the term was first coined by Glen Whitman on the blog Agoraphilia in 2004. Since then, the term has grown within internet scholarship, spawning its own site (http://snowclones.org/) which collects snowclones from around the web.

Citations:

Rintel, Sean.  “Crisis Memes: The Importance of Templatability to Internet Culture and Freedom of Expression.” Australasian Journal of Popular Culture 2 (2). <http://www.intellectbooks.co.uk/journals/view-Journal,id=202/>

Whitman, Glen. “Phrases for Lazy Writers in Kit Form Are the New Clichés.” Web log post.Agoraphilia. Blogspot, 14 Jan. 2004. Web. <http://agoraphilia.blogspot.com/2004_01_11_agoraphilia_archive.html#107412842921919301>.

“LOLcat”

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What in the world is a LOLcat?

 

A lolcat is an image combining a photograph of a cat with text intended to contribute humour. The text is often idiosyncratic and grammatically incorrect, and its use in this way is known as “lolspeak” or “kitty pidgin”. “Lolcat” is a compound word of the acronym abbreviation for “laugh out loud” (LOL) and the word “cat”. Another, more simple definition is merely a photo of a cat doing a seemingly-innocuous thing, with large text superimposed.

Citation: Dwight Silverman (2007-06-06). “Web photo phenomenon centers on felines, poor spelling”. Houston Chronicle. Retrieved 20a 12-04-01.