Selfies and Authorship: On the Displayed Authorship and the Author Function of the Selfie

Eckel, Julia

doi:10.1007/978-3-319-57949-8_7

Cited by 4 publications

(5 citation statements)

References 11 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Number of people-Focal subjects in the images as a measure of relationship with others [34,35]. 2. Who took the picture?-Evidence that the image was a selfie, channeling Eckel's [41] broader conceptualization of displayed authorship. 3.…”

Section: Discussionmentioning

confidence: 99%

“…The description of the images included the following visual elements: Number of people—Focal subjects in the images as a measure of relationship with others [ 34 , 35 ]. Who took the picture?—Evidence that the image was a selfie, channeling Eckel’s [ 41 ] broader conceptualization of displayed authorship. Composition—Camera distance and camera angle because of the signified intimacy of a close-up compared to a photo taken further away and the signified power and authority of looking up on the person compared to one looking down on them [ 42 ].…”

Section: Methodsmentioning

confidence: 99%

“…Who took the picture?—Evidence that the image was a selfie, channeling Eckel’s [ 41 ] broader conceptualization of displayed authorship.…”

Section: Methodsmentioning

confidence: 99%

See 2 more Smart Citations

“You Aren’t Alone”: An Analysis of Trans Latinas’ Use of Instagram

Alvarez-Hernandez,

Lough,

Estevez

2024

IJERPH

View full text Add to dashboard Cite

Social media platforms, such as Instagram, provide space for marginalized groups to connect, learn about and express themselves, and cultivate community. Trans Latinas, a group target of violence and discrimination, resist by expressing themselves and building community through social media. As cisgender researchers, we explored how trans Latinas use #translatina on Instagram as a shared space to present themselves and their identities, to leverage this knowledge in our fields. We analyzed 134 posts in February and March of 2020 employing basic and interpretive content analyses while considering Goffman’s theory of presentation of self. Results showed that trans Latinas mostly presented individually through posed selfies taken near the camera, using a straight camera angle, standing, not smiling, and making eye contact. Most users wore makeup, styled hair, and accessories. Analyzing written captions and photos, four themes were constructed to understand how trans Latinas presented their identities and connected with others: (1) expressions of beauty and femininity, (2) fostering community, (3) commercial or work, and (4) feeling good and confident. These results have implications for mental health and health promotion practices, as social media could serve as affirming spaces for trans Latinas to reinforce their self-determination, maintain a sense of self, and build community.

show abstract

Section: Discussionmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

See 1 more Smart Citation

“You Aren’t Alone”: An Analysis of Trans Latinas’ Use of Instagram

Alvarez-Hernandez,

Lough,

Estevez

2024

IJERPH

View full text Add to dashboard Cite

show abstract

“…The second decade of the 21 st century witnessed a coincidence between the development of many IT technologies (smartphones, deep learning, databases), the growing prevalence of an economy of attention and the social practice of selfies, identified as a form of conversation as much as an aesthetic item (Eckel 2018). Perfect Skin as a series exposes the obsession of our societies with the vortex of spin, buzz and flow; it showcases our reliance on computer-generated and computer-circulated content and our fascination for self-exposure.…”

Section: Conclusion 28mentioning

confidence: 99%

Challenging the Selfie: Perfect Skin by Chatonsky

Larsonneur¹

2021

interfaces

View full text Add to dashboard Cite

The word "selfie", which appeared in the early 2000s, made the headlines when it was labelled 'word of the year' in 2013 by Oxford dictionaries, and it entered the French dictionary Le Petit Robert in 2016. As Tifentale argues, selfies are "a hybrid phenomenon that merges the aesthetics of the photographic self-portraiture with the social function of online interpersonal communication" (76). These self-portraits, usually taken on smartphones as snapshots and usually carefully staged, are meant to be shared and repurposed: the same image stored in a hard drive and never posted online would not be a selfie. Selfies, as cultural phenomena, conflate three very distinct types of activity and representation: they pose as the latest avatars of a long tradition of self-portraits; they rely on a set of technologies (digital photography, tagging, editing, posting) embedded in smartphones; they constitute a key component of social media practices where they are massively posted and shared. Art and technology and mass consumption, all in one. In the series Perfect Skin (2007-2020), the French Canadian artist Gregory Chatonsky repurposed the massive dataset of selfies posted by a global celebrity, Kim Kardashian, through a specific generative algorithm to create disturbing decompositions of her figure. This artistic gesture combines two provocations in one: by relying on a machine to produce new images, he undermines the collective representation of the artist as an author; by repurposing images from a disreputable genre, criticized for its narcissism, voyeurism and vacuity, into a form of conceptual art, he blurs the distinction between art and mass media.2 Chatonsky provides several philosophical and artistic references as the general framework of his project, with a special emphasis on the notion of self-design he took up from Boris Groys. In Going Public, Boris Groys argues that: It could even be said that self-design is a practice that unites artist and audience alike in the most radical way: though not everyone produces artworks, everyone is an artwork. At the same time, everyone is expected to be his or her own author. Now, every kind of design -including self-design -is primarily regarded by the spectator not as a way to reveal things, but as a way to hide them. (np))

show abstract

“…In exploring the interface of face-to-face interactions between networked mobile devices and their users, however, this article is primarily concerned with the relatively narrow but most widely accepted form of selfie (Zappavigna, 2016): a self-portrait made by holding the photographing device at (more or less) arm’s length. However, beyond this understanding – in which the self is evident both as agent and object of the process – it is important to note that ‘selfie’ has come to encompass nearly any form of photography that seeks to express one’s lifestyle and world view, especially, when shared through the maker’s social media accounts (Eckel, 2018: 145; Shipley, 2015: 404). As such, an individual’s Instagram feed, for example, may be approached as a collection of selfies, even when its images only occasionally are snapped by the individual or include their body in-frame (Hess, 2015: 1631; Senft and Baym, 2015: 1589).…”

Section: Selfies Dualism and The Devicementioning

confidence: 99%

‘Welcome to selfiestan’: identity and the networked gaze in Indian mobile media

Monteiro

2019

Media, Culture & Society

View full text Add to dashboard Cite

This article examines selfie culture and visual social media in India by exploring how smartphone marketing and the performativity of the user–device interface intersect with the cultural influence of the Hindu ritual of darshan and the recent political success of populist Hindu nationalism. Darshan, a long-standing, everyday Hindu practice entailing an active visual and physical exchange between worshiper and devotional image or object, bears striking overlaps with the mechanics and conditions of the networked visuality of the self. Taking a critical technology approach, this article places scholarship on selfies and their production methods in conversation with anthropological descriptions of darshan and existing theories of darshan’s impact on media in South Asia. Theoretical exploration of concepts and practices is augmented by content analysis of social media imagery related to darshan. In arguing that aspects of traditional visual regimes may endure in personal networked media use in India, this work underscores the need for balancing globalized affordances and applications, on one hand, with culturally specific meanings and ideological frames, on the other, particularly as these converge in the visual performance of networked identity.

show abstract

Selfies and Authorship: On the Displayed Authorship and the Author Function of the Selfie

Cited by 4 publications

References 11 publications

“You Aren’t Alone”: An Analysis of Trans Latinas’ Use of Instagram

“You Aren’t Alone”: An Analysis of Trans Latinas’ Use of Instagram

Challenging the Selfie: Perfect Skin by Chatonsky

‘Welcome to selfiestan’: identity and the networked gaze in Indian mobile media

Contact Info

Product

Resources

About