Video: Facebook Breaks Friendships with New ‘See Friendship’ Tool

All of a sudden, Facebook has been popping up new and controversial tools everyday.  The latest addition to the Facebook platform is something called “See Friendship”.  It allows a person to click on it and see how the two friends know each other through pictures, events, comments, posts, etc.  They snuck this tool in there and it reeks havoc on those who didn’t want everyone knowing how they are affiliated and events they’ve attended. The result of such an invasive tool leaves some people with a lot of ‘splainin’ to do.

Facebook developer, Wayne Kao, launched the “See Friendship” tool because he was inspired by the “joy of browsing through friends’ photos”, according to Time magazine. But looking through pictures is a long way from giving a detailed synopsis of the relationship between two individuals, especially one you don’t even know.  Unwelcomed friend requests may even be another residual of the tool because questionable characters out there may be looking to friend your friend and learn even more.

Let’s look at this video to get an idea of just what is happening out there as a result of these “friendly” tools.  If you’ve experienced ANY of this, please get rid of your page…NOW!

-J.C. Brooks

2 thoughts on “Video: Facebook Breaks Friendships with New ‘See Friendship’ Tool”

  1. A group of men march down the street in the middle of the night. They are dressed from head to toe in feathers, beads and paint. Some carry drums, others carry staffs. The leader stands out because his headdress is the tallest, his staff is the widest and his gait is the slowest. A crowd gathers on the street and follows the seemingly impromptu parade under streetlamps and over potholes, chanting and singing until blue and red lights illuminate the group and the New Orleans Police Department arrives on the scene, demanding proof of a permit for parading. The tribe of Mardi Gras Indians, with no permit to display, is forced to disband. Suits that they spent a year creating will go back into the closets and garages from where they came, as a part of African-American heritage of Southeast Louisiana is chipped away.
    The chief of this tribe reflects on being disbanded in a bitter way. He notes that the city identifies the group of wanderers as a parade when it benefits them, as a means to get the Indians off the streets. The chief thinks that the city just wants to get as much money from the permitting process as possible, which would force people who already work to pay for the materials to construct their costumes to spend even more money to maintain this integral part of New Orleans culture. He feels like the Indians are not a revenue-generating tourist attraction and, until the time that they are one, the city and government will continue to make it difficult for them to continue to parade.
    This anecdote, from an interview between Alfred Doucette and an Australian radio host, rang clearly in my mind as I was reading Howard Becker’s chapter, Art and the State. Thinking in particular about his treatment of state support and state censorship, I can clearly see where the Mardi Gras Indians can possibly conflict with state goals. Their traditions arose from the relationships of their ancestors with Native Americans in slavery-era history. They continue to represent social activism and anti-racism, while widely acknowledging (and pointing out) how racism has become institutionalized in the Southern United States. If, according to Becker, [the state] may regard the arts as a positive force in national life, a force which supports social order, mobilizes the population for desirable national goals and diverts people from socially undesirable activities, the motivations of the NOPD in breaking up the parade mentioned above are clear.
    In regards to the consumers of art, the state can and often does control what art is seen by controlling what art is produced. This control could be in the form of funding (or lack thereof), censorship, or its opposite, promotion. By not promoting or supporting the parading of the Mardi Gras Indians in the case mentioned above, the state is trying to control the art to which citizens can be exposed. But, one should not underestimate the power of those artists involved.
    The Indians’ main method of communicating their art to others is most definitely through parading. In a technological era where TV was controlled by very few broadcast corporations and the internet and digital publishing didn’t exist (I’m talking the 1950’s here), these artists had very little opportunity to harness their power to produce and display their art in other forms. Now, these artists can and do produce their work on a multitude of levels. They will still be broken up for parading in the streets, but if you are unable to watch them parade on St. Joseph’s Day, you can visit a museum, download photographs, read a blog or watch a documentary about them.
    By taking advantage of the many user-friendly methods of communicating ones’ art, these artists are able to do two things: first, they are ensuring that their legacy and work continues by preserving it and continuing to produce it, and second, they are creating a wider audience to consume it. Whereas initially, Indians were hard to find, or their parades were dismantled before they began, consumers of this art can seek them out using different media. Because their art itself is multifaceted – including beading, visual artwork, singing, dancing, poetry – the transmedia platform may lend itself to communicating a more whole picture of their work.
    The Indians don’t want you to sit in a coffee shop contemplating the beadwork on their headdress, comparing it to the headdress of the previous year or of the similar outfit worn by a Maori dancer at a festival in 1979. In some ways, the Indians are living proof that culture is in fact ordinary, and that its treatment by the state is what renders it something else. No matter what, in an era of multiple outlets for the expression of their art, the power balance has shifted away from the NOPD and in favor of the Indians as they utilize inexpensive, democratic means (such as blogging on the internet) to both preserve and transmit what they do – whether it’s called cultural expression, art or just plain living.

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