The Selfie as Image (and) Practice: Approaching Digital Self-Photography

Eckel, Julia; Ruchatz, Jens; Wirth, Sabine

doi:10.1007/978-3-319-57949-8_1

Cited by 8 publications

(8 citation statements)

References 16 publications

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“…Das Selfie des Tiers ist das auch innerhalb der Selfie-Forschung am häufigsten herangezogene Animal Selfie (z.B. Eckel, 2018;Eckel et al, 2018;Herma, 2019). Auf dem Bild ist nur das Tier zu sehen, kein Mensch, die Pfoten oder Tatzen weisen rechts oder links über den Bildrand hinaus und bilden so die emblematisch für die Aufnahme eines Selfies stehende Geste "ausgestreckter Arm" (vgl.…”

Section: Selfie Des Tiersunclassified

“…In dieser Geste konstituiert sich das, was die Deutungsmacht über das im Bild Abgebildete bei der Person verortet, zu der der Arm gehört (vgl. Eckel, 2018).…”

Section: Selfie Des Tiersunclassified

“…Das Selfie des Tiers, von dem zwar meist angenommen wird (vgl. Eckel et al, 2018) (Frosh, 2015(Frosh, , S. 1608; Hervorh. i.O.)…”

Section: Selfie Des Tiersunclassified

“…Innerhalb der Selfie-Forschung wird der Begriff Animal Selfie allerdings eher eng gefasst und das Phänomen weithin ohne eine eigenständige Thematisierung des Tiers und dessen Beziehung zum Menschen untersucht (z.B. Eckel et al, 2018). Dies möchte der vorliegende Artikel ändern, indem er drei den Begriff Animal Selfie präzisierende Differenzierungen im Hinblick auf das Verhältnis vorschlägt, in dem Selfie und Tier jeweils zueinanderstehen, i.e.…”

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The Animal in Front of and Behind the Camera: Animal Selfies in the Context of Critical Reflections on Human-Animal-Dualisms and Their Representation in and through Media

Steimer¹

2023

TIERethik

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des Tiers als Anderem bei gleichzeitiger Neustrukturierung der Deutungsmacht über das Tier durch Technik eröffnet. Die Annahme, dass eine datenbasierte Erschließung des Tiers dieses fernab von Ungleichheitsstrukturen bestimmen kann, gilt es allerdings weiterführend kritisch in ihrer Normativität zu reflektieren und unbedingt für Forschungen hinsichtlich digitaltechnologisch bereits implementierter sozialer Dominanz-und Machtstrukturen zu erschließen.

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Section: Selfie Des Tiersunclassified

“…In dieser Geste konstituiert sich das, was die Deutungsmacht über das im Bild Abgebildete bei der Person verortet, zu der der Arm gehört (vgl. Eckel, 2018).…”

Section: Selfie Des Tiersunclassified

“…Das Selfie des Tiers, von dem zwar meist angenommen wird (vgl. Eckel et al, 2018) (Frosh, 2015(Frosh, , S. 1608; Hervorh. i.O.)…”

Section: Selfie Des Tiersunclassified

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The Animal in Front of and Behind the Camera: Animal Selfies in the Context of Critical Reflections on Human-Animal-Dualisms and Their Representation in and through Media

Steimer¹

2023

TIERethik

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“…This is the same thing, we are making it easy, we don’t need anyone to take it, we can do it ourselves’. Indeed, one may see the selfie as an evolutionary outcome of technologies of self-documentation (Eckel et al, 2018; Peracia, 2017). However, in this article, we argue that the selfie emerges as an agentic recording of subjectivities, an ‘agential self-touch’ (Barad, 2012) that enacts a separation between bodies and spaces always already in touch.…”

Section: Aesthetic Of Visual Apartnessmentioning

confidence: 99%

Probing ‘instaworthiness’: Siting the selfie

Gupta

Ray

2022

Convergence: The International Journal of Research into New Med

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This article examines ‘instaworthiness’ as a classificatory category in discourses of place-making. It engages in social-semiotic analyses of the selfies clicked at instaworthy cafes and pubs in Kolkata to highlight how the photographic performativity of selfie-taking reconfigures the notions of placemaking. It accounts for: how is an ‘instaworthy’ spot made and consumed? What ramifications does showcasing the self within these specific sites have upon perceptions of identity, both of the self and the space in question? In locating photographic practices of selfies within the wider shifts of the heuristics of ‘instaworthiness’, this article teases out how the self interacts with a diverse range of non-human actors toward conferring visual apartness upon certain spaces. Thus, producing and circulating selfies as a performance warrant thinking through how discourses of the self and that of spatiality co-constitute each other.

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Difficult heritage and digital media: ‘selfie culture’ and emotional practices at the Memorial to the Murdered Jews of Europe

Bareither¹

2020

International Journal of Heritage Studies

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This article sheds light on the entanglements of difficult heritage and digital media through an ethnographic analysis of digital photography and social media practices at the Memorial to the Murdered Jews of Europe in Berlin. After a discussion of the project 'Yolocaust', through which an artist publicly shamed the 'selfie culture' at the memorial, the article argues that the sweeping condemnation of digital self-representations in the context of Holocaust remembrance remains simplistic. Instead, many visitors explore and enact potential emotional relationships to the pasts that sites of difficult heritage represent through digital self-representations. This observation raises critical questions about the role of digital media in current transformations of touristic memory cultures.

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The Selfie as Image (and) Practice: Approaching Digital Self-Photography

Cited by 8 publications

References 16 publications

The Animal in Front of and Behind the Camera: Animal Selfies in the Context of Critical Reflections on Human-Animal-Dualisms and Their Representation in and through Media

The Animal in Front of and Behind the Camera: Animal Selfies in the Context of Critical Reflections on Human-Animal-Dualisms and Their Representation in and through Media

Probing ‘instaworthiness’: Siting the selfie

Difficult heritage and digital media: ‘selfie culture’ and emotional practices at the Memorial to the Murdered Jews of Europe

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