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Culture of the Selfie : Self-Representation in Contemporary Visual Culture
Abstract
Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
... The aim is to utilize a well-established theory in Cognitive Linguistics, namely, Conceptual Integration Theory (Blending Theory) and its extension as proposed by Dancygier and Vandelanotte (2016, 2017a, 2017b, that establishes a discourse viewpoint space constructed on-line for the purposes of processing semiotic products and generating meaning to try to scrutinize Internet memes on 9gag.com, a social networking site that features user-generated content. In the "selfie culture" (Lakshmi 2015;Peraica 2017) it seems that "[i]mages are the core of society today" (Farías 2015: 74), in the social media context at least. Human propensity to use images as a means of communication speaks in favor of that claim. ...
This paper analyzes internet memes pertaining to Covid-19. We analyzed more than 200 memes over nine months. By utilizing Blending Theory and Discourse Viewpoint, we attempt to explain the creative inner workings of memes as well as how meaning is negotiated on the internet. We were clearly able to detect memes synchronously following the actual development of Covid-19. We show that meme makers use visuals metonymically to address the current state of Covid-19 while the overall message of memes is driven by simile. As much as memes draw on the concept of Covid-19, they also feed back to it in a loop of self-reference. Along with their underlying metaphoric nature, memes convey a feels-like attitude with two main phases emerging from their usage, i.e., the Observer Phase and the Experiencer Phase. The former showed memes at a stage where Covid-19 was not yet a pandemic (but perceived through media coverage from elsewhere) while the latter, the Experiencer Phase, clearly showed that meme creators had experienced the virus themselves. As for the timeframe covered, however, we conclude that memes do not show full conceptual integration as Covid-19 was not yet fully entrenched.
... Su impacto en la cultura visual de nuestros días es tal que ha llegado a modificar incluso nuestros desayunos, ahora pensados para ser fotografiados y compartidos dentro de la plataforma (Manovich, 2017). Actualmente tendemos a pensarnos, o pensar en nuestro ocio, como si de una fotografía o vídeo se tratase (Peraica, 2017). De este modo, si queremos entender la influencia de las redes sociales en la transformación del estilo y, con ello del gusto en la era de lo digital, esta plataforma es un entorno idóneo para ejecutar nuestro estudio de caso. ...
Las experiencias visuales, el eclecticismo y las redes sociales plantean nuevos retos a la sociología y la antropología críticas. Este artículo tiene como objetivo reflexionar sobre el potencial de la netnografía como una herramienta idónea para analizar la impronta de las estructuras de estos entornos en las prácticas cotidianas. Para ello vamos a desnudar el proceso de elaboración de categorías de un estudio de caso sobre el impacto del diseño de la plataforma Instagram en la construcción del estilo de una muestra de ‘traperas’. El carácter estructural de la netnografía nos llevó a establecer tres dimensiones basadas en los usos de estas jóvenes de las diferentes funcionalidades visuales de la plataforma –affordances–. Ofrecemos así una reflexión técnica sobre las posibilidades de este método para profundizar en los fenómenos sociales y establecer categorías analíticas que surjan desde los propios entornos digitales, para no reproducir las lógicas derivadas de las categorías tradicionalmente en la investigación social. Un ejercicio con el que buscamos ofrecer una alternativa a las lógicas mayoritarias de la investigación digital como el Big Data.
The Identity Repertoires of Romanian Microcelebrities. A Digital Ethnography Approach to Telling a Life Story on Social Media. The multimodal identities of microcelebrities on social network sites and the complementarity between textual and visual elements contribute to telling an autobiographical story that surpasses the digital world. Using a digital ethnography approach, we aim to analyse the way in which queer Romanian microcelebrities construct an online presence and produce online diaries of their personal lives. Adjacent to this analysis of constant online identity performance, this study will show that the digital practices used by these netizens also raise awareness of the minority groups they represent and shed light on various contemporary social issues. As such, placing emphasis on the collage technique, a qualitative analysis is needed to provide an emic perspective of the performance of fluid identities and the narrativisation of the self via complex language, discourse, and semiotic architecture. The significance of our sociocultural linguistic study is discussed in relation to the fact that the microcelebrities under consideration showcase Romanian emblematic profiles of the selfie-culture in which self-representation is constructed by apparently disjointed bits and pieces that constitute a complex matrix. REZUMAT. Repertoriile identitare ale microcelebrităților românești. O abordare etnografică digitală a construirii unor autobiografii pe platformele online de socializare. Identitățile multimodale ale microcelebrităților de pe platformele de socializare și complementaritatea dintre elementele textuale și cele vizuale contribuie la relatarea unei povești autobiografice care transcende lumea digitală. Folosind abordarea etnografiei digitale, ne propunem să analizăm modul în care microcelebritățile queer din România își construiesc o imagine online și produc jurnale online ale vieții lor personale. Adiacent la această analiză a construcției identitare în spațiul digital, acest studiu va arăta că practicile digitale folosite de utilizatori sensibilizează, de asemenea, grupurile minoritare pe care le reprezintă și pune în lumină diferitele probleme sociale contemporane. Din cauza caracterului fragmentar al discursului în mediul online, este necesară o analiză calitativă pentru a oferi o perspectivă emică asupra identităților fluide și a narativizării sinelui prin intermediul limbajului complex, al discursului și al arhitecturii semiotice. Importanța studiului nostru constă în faptul că microcelebritățile analizate prezintă profile românești emblematice ale culturii selfie în care auto-reprezentarea este construită prin fragmente aparent disjuncte care constituie o matrice complexă. Cuvinte-cheie: discurs digital, etnografie digitală, identitate fluidă, repertorii identitare multimodale, microcelebritate Article history: Received 7 March 2024; Revised 16 April 2024; Accepted 1 September 2024; Available online 10 December 2024; Available print 30 December 2024.
The article examines examples of artistic activities in which the problem of digitization of identity in the era of social media is critically addressed. Algorithmic data processing and thus creating a virtual shadow, the digital selves of users, are the key practices of surveillance capitalism. Therefore, to provide context to the analysis of works of three artists (Erica Sourti, Aram Bartholl, Timo Toots) a short overview of the evolution of the concept and practices of social media is introduced. From the very beginning, the key place in the concept of Web 2.0 and social media was assigned to the user, understood as an active agent, who autonomously creates and controls his/her position on the Internet. As economic and cultural hegemony of platforms increased, the gap between the ideology of active prosumers and practices resulting in the objectification, commodification and incapacitation of users became increasingly clear. A special role in this process is played by user profiling and the creation of digital identities that are useful from the point of view of corporations. By investigating the mechanisms of algorithmic power and its consequences for the status of users involved in online power relations, Scourti, Bartholl and Toots pose a number of questions crucial for understanding of contemporary culture dominated by social media moguls. What are the relationships between the embodied subject and his/her digital self? How does the digital re-creation of the subject influence the existential possibilities of users, their self-awareness and possibilities for self-governance? What are the consequences of commercial user profiling for understanding the very category of self? How can users influence the production and presence of digital identities? Is individual and social resistance to the instrumental power of surveillance capitalism possible? If so, what forms might it take?
ABSTRACT
The focus of this research is to describe a concept of auto-ethnographic research that is based on an understanding of the ethnographic view. The aim is to encourage those with a background in the arts to get detailed information about this type of auto-ethnographic research. The urgency is to strengthen auto-ethnography into artistic research (about art) from their own experiences. The research departs from the literature review. Data was obtained through literature research by relying on primary data in the form of an article entitled An Autoethnography on Learning About Autoethnography. This article was written by Sarah Wall (2006). The work, Fitting the Methodology with the Research: An exploration of narrative, self-study and Autoethnography written by Mary Lynn Hamilton, Laura Smith & Kristen Worthington (2008) as supporting methodology. The work Artistic Research: The Thoughts And Ideas Of Mika Hannula written by Guntur (2020) to support the artistic. The case study used Self-Reflection in Mirrors in Photographic Works by Sepba Fri Atnin. (2018). The results of the study are first the concept of research on qualitative data sources that come from the researchers themselves. Second, its application in the field of arts such as recording media arts, visual arts, fine arts, dance, and performing arts.
Il volto dell’infanzia è un oggetto culturale tanto carico di significato quanto ad oggi inesplorato. Ciò appare controintuitivo: oggi avanzano con una certa dirompenza face studies che delineano la natura pervasiva del volto in quanto dispositivo comunicativo, retorico, empatico, tuttavia tali approcci sono concentrati quasi esclusivamente sul volto adulto. Al contrario la mediasfera contemporanea è popolata di volti di bambini, che assumono i più svariati e complessi significati. Se l’infanzia è il convitato di pietra negli studi sul volto, una culturologia dei volti infantili si rende essenziale. Ne consegue la necessità di una messa a sistema, che in questo volume si diparte dal più ingente deposito dell’immaginario visivo dalla fine del 1800 a oggi. Si articolano così le premesse metodologiche per uno studio sistematico a partire dal cinema, luogo d’elezione del volto dell’infanzia, ma anche prisma attraverso cui si rifrangono le culture audiovisive contemporanee, dalla newborn photography a FaceApp, passando per Samara Morgan, Shirley Temple, i Teletubbies e molti altri.
The notion of "Snapchat Dysmorphia", which we extend here to a more generic "Selfie Dysmorphia", has been under discussion online for at least a couple of years. It concerns the increasingly widespread inability to accept one's own appearance and the spasmodic need to control it through filters and post-production effects with the smartphone. This trend, which from epidemic is becoming endemic, configures an unprecedented modality of relationship with one's own body and its image, specifically (but not only) facial. A new semiopolitics of bodies is developing, with not only psychosocial but also socio-semiotic consequences which summon up complex notions such as that of the figure, an in-depth reflection on the interpretative dynamics involved in the choice of pertinentising some plastic configurations of images as figuratively salient, and a reflection on the semantics of the concept of "disfiguration" as an isotopy of contemporary society.
Situated within the field of women's photographic practice, this chapter investigates the relationship between trauma, memory, and the embodied trace. Using practice examples, the text explores how self-performed modes of self-representation might offer insights into the complex—psychological and physiological—inscriptions left by trauma. Evaluating this relationship, the text draws on analyses by Griselda Pollock, Jill Bennett, and Margaret Iversen. The argument supports post-qualitative research methods that unfold subjective material through the ‘doing-thinking-making' process. Approached through posthuman and new materialist frameworks referencing Karen Barad and Rosi Braidotti, the chapter examines how a diffractive—rather than purely reflective—methodology can synthesise praxis and theory through affective photographic outcomes. The chapter concludes by evaluating how a diffractive approach to photographic self-representation can be productive for re-thinking the self, re-interpreting narratives of trauma, and re-imagining the way we see ourselves in our ‘becoming-with' others.
The sales reduction of several companies or businesses during the COVID-19 pandemic caused they find other ways to maintain their business, as was done by McDonald's Indonesia by issuing a new BTS meal menu in collaboration with the South Korean boy group BTS. The purpose of this study was to determine the influence of brand ambassador and brand image on purchasing decisions by using case studies of Kpop and non-Kpop fans. This research used a questionnaire to obtain data on brand ambassadors, brand image, and consumer purchasing decisions, then analyzed using Confirmatory Factor Analysis (CFA) and the rotational method of varimax factor analysis. From the result, 64 respondents showed brand ambassadors influenced brand image in BTS meal purchasing decisions by 28.6%, brand ambassadors influenced BTS meal purchasing decisions by 19.4%, brand image influenced BTS meal purchasing decisions by 6.4 %, and brand image can mediate brand ambassadors to influence BTS Meal purchasing decisions. The impact of using BTS as a brand ambassador does not directly affect BTS Meal purchasing decisions but the brand image of McDonald's Indonesia can mediate the brand ambassador to influence BTS Meal purchasing decisions.
Özçekim, modern bir otoportre şeklidir. Özçekimle ilgili benliğin sunumu; narsisizm, eğlence, sosyal etkileşim, lüks tüketim, cinsiyet, özsaygı, tüketim kültürü, sosyal medya bağımlılığı ve kimlik oluşumuyla ilgili disiplinlerarası araştırmalar bulunmaktadır. Bu araştırmanın amacı, teknolojik belirlenimci yaklaşımı benimseyerek dijital yerlilerin ve dijital göçmenlerin sosyal medyada özçekim paylaşım tutumlarını incelemektir. Gerçekleştirilen bu çalışmanın, veri toplama yöntemi anket tekniği olarak belirlenmiştir. Balakrishnan ve Griffiths (2018) tarafından geliştirilen ölçek kullanılmıştır. Araştırma evrenini, sosyal medyada en az bir defa özçekim paylaşımı yapmış olan 1980 öncesi ve 1980 sonrası doğumlu sosyal medya kullanıcıları oluşturmaktadır. Araştırmanın örneklemi, amaçlı örneklem tekniğiyle belirlenmiş ve sosyal medyada özçekim paylaşımı yapan 429’u dijital yerli, 423’ü dijital göçmen kategorisinde, toplamda 852 katılımcıdan meydan gelmektedir. Katılımcılara çevrimiçi anket yöntemiyle ulaşılmıştır. Araştırmayla dijital yerlilerin çevre geliştirmek, sosyal rekabeti arttırmak, ilgi görmek, ruh halini değiştirmek, özgüvenini arttırmak ve kendisini bir gruba ait hissedebilmek için dijital göçmenlere kıyasla daha yoğun bir şekilde sosyal medyada özçekim paylaşımları yaptıkları sonucuna ulaşılmıştır.
L’article s’intéresse aux autopathographies produites par Hannah Wilke et par Jo Spence inspirées par la lutte qu’elles ont toutes deux menée contre le cancer dans les années 80 et au début des années 90. Les deux artistes se sont tournées vers l’autopathographie pour réinventer leurs propres images corporelles, ainsi que l’image sociale de leur maladie. En examinant de près leurs productions, l’article décrit les stratégies esthétiques et politiques qu’elles emploient pour transmettre leur expérience. Wilke transforme activement son vécu souffrant en l’image d’un exosquelette blessé, où des marques réelles, ainsi que des signes construits autour de sa douleur sont exhibés sur son corps et par lui. Par cette transformation, l’artiste parvient à exprimer une position critique face aux préjugés culturels qui sont rattachés à (l’image de) sa maladie. Spence, pour sa part, crée une dialectique visuelle du sujet malade, où son image ne peut facilement être réduite aux statuts extrêmes de « victime » ou d’« héroïne ». L’image du sujet qui en émerge demeure dynamique et complexe, et échappe aux stéréotypes préjudiciaux. L’article se penche également sur la dimension performative impliquée dans toute autoreprésentation, et, plus précisément, dans les objets culturels liés à la maladie tels que les talismans et les ex-voto, qui sont décrits par Thierry Davila comme étant des « formes agissantes ». Les oeuvres de Wilke et Spence nous portent à réfléchir sur la lourde responsabilité qu’il nous faut assumer face aux oeuvres pathographiques et aux images de la souffrance.
A history of self-portraiture from antiquity to the present day
In this compelling interdisciplinary study, Elizabeth Klaver considers how autopsies are performed in a variety of contexts, from the "real" thing in hospitals and county morgues to various depictions in paintings, novels, plays, films, and television shows. Autopsies can serve a variety of pedagogical, legal, scientific, and social functions, and the autopsied cadaver, Klaver shows, has lately become one of the most spectacular bodies offered up to the public on film, television, and the Internet. Setting her discussion within the history of the modern autopsy, and including the narrative of her own attendance at a medical autopsy, Klaver makes the autopsy readable in a number of diverse venues, from Rembrandt's The Anatomy Lesson and Vesalius's Fabrica to The Silence of the Lambs, The X-Files, and CSI. Moving from the actual autopsy itself to its broader symbolic ramifications, Klaver addresses questions as disparate as the social constructedness of the body, the perception and treatment of death under late capitalism, and the ubiquity of paranoia in contemporary culture.