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Generative models have revolutionized de novo drug design, allowing to produce molecules on-demand with desired physicochemical and pharmacological properties. String based molecular representations, such as SMILES (Simplified Molecular Input Line Entry System) and SELFIES (Self-Referencing Embedded Strings), have played a pivotal role in the success of generative approaches, thanks to their capacity to encode atom- and bond- information and ease-of-generation. However, such 'atom-level' string representations could have certain limitations, in terms of capturing information on chirality, and synthetic accessibility of the corresponding designs. In this paper, we present fragSMILES, a novel fragment-based molecular representation in the form of string. fragSMILES encode fragments in a 'chemically-meaningful' way via a novel graph-reduction approach, allowing to obtain an efficient, interpretable, and expressive molecular representation, which also avoids fragment redundancy. fragSMILES contributes to the field of fragment-based representation, by reporting fragments and their 'breaking' bonds independently. Moreover, fragSMILES also embeds information of molecular chirality, thereby overcoming known limitations of existing string notations. When compared with SMILES, SELFIES and t-SMILES for de novo design, the fragSMILES notation showed its promise in generating molecules with desirable biochemical and scaffolds properties. Molecular representations based on SMILES strings play a pivotal role in the success of generative approaches for de novo design, however capturing information on synthetic accessibility remains challenging. Here, the authors report fragSMILES as a fragment-based molecular representation in strings that embed chemical information and molecular chirality, showing promise in generating molecules with desirable properties. [ABSTRACT FROM AUTHOR]

The article explores Fort's alternative scientific theories and their critique of mainstream science. Topics include Charles Fort's "The Book of the Damned" and his challenge to contemporary scientific explanations, the use of rare infrared film to create images inspired by Western philosophy's history, and the transition from self-portraiture to the influence of selfie culture with more rigorous image construction.

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'Visual turn' scholarship in International Relations (IR) acknowledges the importance of new information and communication technology for the production and circulation of images but lacks sustained engagement with the technologies themselves and how they interact with humans in the visual production of security. This article brings the visual turn into conversation with Science and Technology Studies (STS) and mobilises Latour and Woolgar's notion of inscription to show how the production of visual artefacts and their security effects are conditioned by human/device interaction. It advances the argument that the representational force of a visual artefact is dependent not only on the content and quality of the artefact itself, but also on the specific human/device relations that condition its production. To illustrate this, the article theorises the smartphone as an inscription device and the selfie as an inscription practice and analyses the case of Zelensky's selfie videos from the first few days after Russia's invasion of Ukraine. Selfies inscribe meaning to security issues by mobilising the photographic affordances of indexicality, composition, and reflection in unique ways. Specifically, they focus images on the communicative acts of their producers and play on the relationship between human and device to invoke feelings of immediacy, authenticity, and intimacy. [ABSTRACT FROM AUTHOR]

Over the past decade, social media filters have become a pervasive visual phenomenon. Filtered selfies with conspicuous animal features or flawless makeup have flooded social media platforms. In this study, it is argued that the massive popularity of these social media filters is not ungrounded. Instead, these viral filters have their origins in ancient or even pre-historic times. Approaching this phenomenon from an anthropological perspective, social media animal filters are traced as far back as classical mythology and folklore tales of human-animal hybrids. Makeup filters are similarly linked back to ancient cosmetic practices. In this attempt to demonstrate the persistence of both human-animal imagery and the use of makeup, this study also explores their deep psychological implications. The central argument is that both makeup and human-animal hybrid imagery, re-invented in a digital form, have reached extreme popularity because they strike deep chords of recognition in the human psyche, appealing to primordial desires and instincts. This article also draws attention to how social media platforms make use of archaic imagery and motifs to serve marketing purposes, capitalizing on human's deepest and oldest instincts and desires. [ABSTRACT FROM AUTHOR]

Selfies provide unique opportunities to explore, document, and interact with the self through photography. However, the inherent intrapersonal affordance of self-portraiture becomes a unique manifestation of masspersonal theory when selfies are shared, a step that is often assumed but not unpacked in selfie research. Therefore, it is essential to understand when and for whom these intrapersonal and interpersonal moments evolve into masspersonal moments or communication episodes. This study uses a novel strategy to investigate selfie behavior–the likelihood of taking and sharing selfies–to assess individual differences between selfie-takers, or "selfiers". Discerning selfiers–people more likely to take than share selfies–report greater control and self-esteem compared to non-discerning selfiers, who are equally as likely to take as share selfies. Furthermore, control mediates the effect of selfier type on self-esteem; discerning selfiers report that others are not in control of their life, resulting in greater security regarding others' perceptions of them. The current findings reveal the unique effects of differential deployment of selfies. [ABSTRACT FROM AUTHOR]

Social media and other platforms have become an essential part of outdoor activities as they influence how nature is experienced and engaged with, but also what good nature is seen as. In this article, we explore how social understandings of nature and digital technologies are mutually performed. Using the empirical case of nature selfies—an archetype of imagery on social media platforms—posted on Instagram, Facebook, and Tripadvisor, and a small participatory "breaching experiment" aimed at collecting "ugly nature selfies," we analyse and interrogate nature/society relationships displayed online within the platform contexts of attention economy and affordances. We conclude that nature selfies reinforce the desirability of consuming "beautiful" nature, while attention economy and platform affordances limit the possibilities for alternative nature/society relationships to be developed and promoted. [ABSTRACT FROM AUTHOR]

This article examines how the concept of freedom has been appropriated by the far right to impose a number of authoritarian policies designed to dismantle the critical functions of public and higher education. It explores, in particular, the ways in which Florida Republican Governor Ron DeSantis has used an appeal to freedom to punish critics, wage a war on trans people, misrepresent the history of slavery, and impose a new version of McCarthyism on higher education. It challenges what it terms neoliberal and fascist notions of freedom by making clear that democracy and capitalism are incompatible, and that any viable notion of freedom must address not only personal and political rights but also economic rights. Freedom from domination must be matched by a freedom to live in a world marked by the principles of justice, equality, and dignity. There is no freedom in the midst of massive inequalities in wealth, power, and education. [ABSTRACT FROM AUTHOR]

What happens to queer and gender-non-conforming community, bodily expression and identity when many queer spaces are closed and communities move to online spaces? In this article, we critically reflect on our collaborative project bois of isolation (boi) – a platform within Instagram for people to share selfies of the spaces and processes through which they queer gender binaries during the COVID-19 pandemic. We ask to what extent online social media spaces can disrupt normative, binarized gender identity and provide ways of reimagining the selfie. Operating within digital capitalism, selfies often serve to circulate and reproduce dominant 'desirable' subjectivities in 'gender appropriate' places. However, we argue through interventions like boi young people carve out small spaces of dissent and respite in/from social media platforms and create forms of community during lockdown. By queering the visual representations of binarized gender and questioning the neoliberal individualized 'self' in 'selfies', young people construct communal aesthetic spaces in which gender plurality and fluidity are expressed and celebrated. [ABSTRACT FROM AUTHOR]

Photography has recently received significant academic interest as a popular tourist activity. However, tourist selfie practises have not yet been thoroughly examined by tourism scholars. This study aimed to investigate tourist selfies storytelling and to determine if tourists'selfies at tourist destinations reveal specific aspects of the host destination, implying an embodiment of particular preferences, intentions, and motivations. In this study, an exploratory analysis employing a two-step qualitative approach was conducted. A semiotic analysis of 317 tourist selfie photos and two phases of in-depth interviews with eleven tourists visiting Egypt on a 7-day packaged tour were used. The findings reveal that tourists prefer to capture host communities' appearance and attributes in their selfies for different motivations and intentions. Intentions regarding impressions, advertisements, suggestions, and descriptions for these attributes were the intentions that shaped the tourists' selfie practise. This study contributes to our understanding of the content of travel-related selfies and tourist behaviour at destinations. It proposes management implications to assist tourism and hospitality professionals in engaging with and profiting from tourists' selfies practise. [ABSTRACT FROM AUTHOR]

Small-molecule drug design aims to generate compounds that target specific proteins, playing a crucial role in the early stages of drug discovery. Recently, research has emerged that utilizes the GPT model, which has achieved significant success in various fields to generate molecular compounds. However, due to the persistent challenge of small datasets in the pharmaceutical field, there has been some degradation in the performance of generating target-specific compounds. To address this issue, we propose an enhanced target-specific drug generation model, Adapt-cMolGPT, which modifies molecular representation and optimizes the fine-tuning process. In particular, we introduce a new fine-tuning method that incorporates an adapter module into a pre-trained base model and alternates weight updates by sections. We evaluated the proposed model through multiple experiments and demonstrated performance improvements compared to previous models. In the experimental results, Adapt-cMolGPT generated a greater number of novel and valid compounds compared to other models, with these generated compounds exhibiting properties similar to those of real molecular data. These results indicate that our proposed method is highly effective in designing drugs targeting specific proteins. [ABSTRACT FROM AUTHOR]

Wildlife tourism has experienced a shift from passive observations towards highly interactive encounters between tourists and wild animals. Tourist behaviour is influenced by the pursuit of 'visual trophies' for social media. More specifically, the 'wildlife selfie' phenomenon, which requires proximity to a plethora of animal species, may contribute to compromised tourist safety and harassment of wildlife. This paper explores the perceptions of swim-with wildlife tour participants regarding wildlife-focused user-generated content such as wildlife selfies in three different commercial encounter settings in the South Pacific. In-depth qualitative interviews and a thematic analysis of the data yielded two prominent themes: Tourists perceived human-wildlife interactions online as 'a double-edged sword', identifying animal welfare as a key concern. Such content was found to shape the decision-making processes of tourists and affected tourists' perceptions, creating unrealistic expectations of wildlife encounters. Further, whale-swim participants were identified as non-selfie-takers/opponents, while seal swimmers and shark divers were somewhat supportive, actively participating in selfie-taking behaviour to provide proof to peers ('to selfie or not to selfie'). Those findings indicate that a sound monitoring of the constructed human-wildlife relationship in the twenty-first-century media landscape with a focus on guidelines and regulations to ensure tourist safety and animal welfare is required. [ABSTRACT FROM AUTHOR]

Self-portrayed photographs, more commonly known as selfies, are a modern way of expressing oneself at popular tourist destinations. Selfies enable individuals to be seen by others on the web. There has been fierce debate about whether taking selfies is appropriate from an ethical standpoint at tourist places with darker and more sensitive histories. This study, a first of its kind, is a multi-method analysis of tour guides' emotions towards selfie-taking tourists in the dark tourism location of the Chernobyl Exclusion Zone in Ukraine. As a phenomenon that has been introduced fairly recently, extant research has addressed the consequences selfies have on dark touristic sites, but no current study has considered the Chernobyl Exclusion Zone. The methods used to evaluate the current situation are netnography and one-on-one, in-depth interviews with Chernobyl tour guides. Findings show that there has been a degree of conflict between tour guides and tourists who take selfies. Performance of emotional labor is detected amongst some tour guides. Interestingly, this result emerged more during interviews than from data mining in the online community. Managers of the site of the Chernobyl Exclusion Zone are advised to look into ways of implementing a more responsible tourist behavior structure. [ABSTRACT FROM AUTHOR]

This article draws on ten semi-structured interviews with mothers about their maternal selfie practices in order to explore how they use and navigate the form in relation to their motherhood identities and experiences. Whilst work on the form is still emerging, we examine the claim that maternal selfies offer space for a uniquely subjective expression/depiction of motherhood. As part of this, we explore how discussions of their selfie practices – and appraisals of the cultural circulation of the maternal selfie – resist and (re)produce discourses on acceptable digital and cultural paradigms of motherhood. The themes which emerged from these data were 1) the maternal selfie as empowerment, 2) authenticity as regulatory discourse and 3) the risks of negative affect. In drawing on work on neoliberal and intensive mothering frames, the article examines how the increasing emphasis (in digital cultures in particular) on displaying the complex realities of motherhood are implicated within the surveillance and self-surveillance of maternal visibility in ways which may (further) delimit the possibilities for maternal self-expression. [ABSTRACT FROM AUTHOR]

Through a case study of Istanbul's Foto Görçek, playfully dubbed 'the world's first selfie studio', this article focuses on the changing photographic practices from the mid-1940s–1960s in modern Turkey, which experienced a dramatic political transition during the 1950s with the introduction of the multi-party regime following three decades of strictly secular Kemalist rule. This study explores how Foto Görçek challenged and transformed studio practices in Turkey, particularly during its increasing popularity in the 1950s–1960s, by allowing people to take up Elizabeth Edwards' notion of the 'theater of the self', or when the self also takes on the role of the photographer. Accordingly, the article looks at the affordances of the photo studio as a space where citizens reimagined their desired selves and when new ways of imagining the self were made available to them. Moreover, this study investigates how such new imagined selves in the aftermath of the Second World War served to renegotiate a desired modern Turkish identity resulting from the rigorous state-controlled nation-building process during the 1920s–1930s. [ABSTRACT FROM AUTHOR]

OBJECTIVES. We reviewed the use of social media and its influence on rhinoplasty decisions. MATERIAL AND METHODS. The literature survey was performed in PubMed, EBSCO, UpToDate, and ProQuest Central databases of Kırıkkale University and Google and Google Scholar databases. RESULTS. Networking features available through social media sites allow users to discover and share countless photos, videos and links from their desktops and mobile devices. In the United Kingdom, over 55% of facial plastic surgeons reported that their cosmetic patients were inspired to look better in selfies. 53.4% of respondents felt that TV shows promoting plastic surgery impacted the popularity of such procedures, and 65.0% of respondents believed that social media had a similar effect. Males reported being much less satisfied with surgery than females and were less specific about why they were unhappy. One-third of patients regularly looked for information about rhinoplasty on social media. Less than a third were affected by celebrities who had rhinoplasty for cosmetic reasons. However, over three percent believed the social media ads portraying rhinoplasty as a safe surgical procedure. CONCLUSION. We concluded that social media platforms play a significant role for the decision to undergo rhinoplasty and postoperative patient satisfaction. [ABSTRACT FROM AUTHOR]

Smartphones have made it nearly effortless to share images of branded experiences. This research classifies social media brand imagery and studies user response. Aside from packshots (standalone product images), two types of brand-related selfie images appear online: consumer selfies (featuring brands and consumers' faces) and an emerging phenomenon the authors term "brand selfies" (invisible consumers holding a branded product). The authors use convolutional neural networks to identify these archetypes and train language models to infer social media response to more than a quarter-million brand-image posts (185 brands on Twitter and Instagram). They find that consumer-selfie images receive more sender engagement (i.e., likes and comments), whereas brand selfies result in more brand engagement, expressed by purchase intentions. These results cast doubt on whether conventional social media metrics are appropriate indicators of brand engagement. Results for display ads are consistent with this observation, with higher click-through rates for brand selfies than for consumer selfies. A controlled lab experiment suggests that self-reference is driving the differential response to selfie images. Collectively, these results demonstrate how (interpretable) machine learning helps extract marketing-relevant information from unstructured multimedia content and that selfie images are a matter of perspective in terms of actual brand engagement. [ABSTRACT FROM AUTHOR]

This study explores the mediating effect of self-objectification and narcissistic personality on the relationship between selfies and body image satisfaction. A total of 368 college students were administered a survey that included general information, selfie-related questions, a body image satisfaction scale, a body surveillance scale, and a narcissistic personality scale. Selfies, body image satisfaction, self-objectification, and narcissistic personality were shown to be positively correlated. Mediation modeling analysis found that selfies had a direct effect on body image satisfaction and that self-objectification and narcissistic personality mediated this relationship. Consequently, this study holds suggestions for researchers and educators searching for better exploration and attention to improve the content of education, guide students to set up a correct moral outlook, outlook on life and values. [ABSTRACT FROM AUTHOR]

This article explores the digital identity of Daguguguji, one of the most famous microbloggers and microfiction writers on Sina Microblog. Despite having 3.9 million followers on Sina Weibo, his personal background remains veiled from the public. Daguguguji often refers to himself using nonsensical terms, animals, or neologisms irrelevant to his personal life, such as "a dog," "Zhang Dachui," "follow me," or "Zhang Wei." His profile pictures are not selfies, but images appropriated from other famous singers and writers, modified in a Dadaist style. Daguguguji's identity performance is substantially different from that of celebrities who use paratexts such as selfies and verbal descriptions to reveal their offline identities and inner selves. Instead, his writing can be conceptualized as parasitic use of the paratext, as the information displayed in his profile image, bio, posts, and reposts shows a parasitical mimesis of "who I am not," rather than an authentic self-display of "who I am." I propose that Daguguguji's identity performance is representative of the culture of anonymity in the Chinese mediascape, where netizens no longer seek to exhibit the "authentic self" but rather play with the "inauthentic persona," a persona parasitic on appropriated visual-verbal texts that are irrelevant to either their inner self or offline identity. [ABSTRACT FROM AUTHOR]

In this article, I examine human–animal encounters in Instagram selfies with seagulls. I ask how human–seagull relations are visualised, narrated and negotiated in Instagram posts with the hashtag “seagullselfie”. While my total data consist of 814 Instagram posts from before 2020 with #seagullselfie, I have chosen six photographs that represent different types of human–animal interactions for more detailed analysis, as they make visible human ambivalence towards non-human animals. For example, humans sometimes call seagulls “friends”, or even “cuties”, but at other times portray them as hungry, dirty and annoying – as “trash birds”. Drawing on Stacy Alaimo’s concept of trans-corporeal interactions, I focus on the embodied agencies, both human and non-human, and the multispecies sharing of spaces considered “urban” or “natural”. My method of studying the photographs of seagulls and humans is inspired by new materialist “ways of following” art, being moved by photographs and seeing where they take me. I argue that seagulls cross the hierarchical dichotomies of nature and culture and contest the anthropocentric ideals of nature as something that should be accessible on human terms. I claim that there is no beautiful and passive “nature” in the seagull selfies that remains as a background for human action. Instead, in these six photographs, seagulls stalk humans, take their food, photobomb them, refuse to pose for their photographs and ignore their clumsy attempts at friendship. [ABSTRACT FROM AUTHOR]

The term sexting, coined in 2005, is still in its prime. Relying on a rather large number of image types (contextual pictures, inoffensive sexual pictures, joke images, offensive and unethical sexual pictures, private, or public selfies), sexting among youth may have many causes. This paper is an attempt at providing a school social worker’s job description by answering questions such as: Who sexts young people? What categories of young people are sexted? Where does sexting occur? When does sexting occur? How are young people sexted? Why are young people sexted? What are the consequences of sexting? And what should schools do? [ABSTRACT FROM AUTHOR]

Citizen science in coastal ecosystems often involve (eco-)tourists that actively monitor reefs, species and pollution. Data collected by tourists, passively, was used to gain insight into landings of the largest fish, the whale shark (Rhincodon typus), in Pangandaran Bay, Indonesia. Monitoring of illegal fishing was halted due to COVID-19 travel restrictions and lockdowns. With two million, mainly Indonesian, tourists visiting Pangandaran Bay in 2020 (30% less than in 2019) enough tourists were present to record landings of whale sharks. Monitoring social media revealed reports of 10 whale shark landings between August 2020 and August 2022. Seven were in July–August of immatures 6–7 m in length. The information passively provided by tourists since COVID-19 have given insights into the biology of whale sharks, landing risks and how communities interact with sharks. Feeding back this information to tourists is challenging, yet vital, to cement a sense of belonging, purpose and attachment to their holiday location. [ABSTRACT FROM AUTHOR]

Objective: Upper extremity function reflects disease progression in multiple sclerosis (MS). This study evaluated the feasibility, validity, and sensitivity to change of remote dexterity assessments applying human pose estimation to patient‐uploaded videos. Methods: A discovery cohort of 50 adults with MS recorded "selfie" videos of self‐care tasks at home: buttoning, brushing teeth, and eating. Kinematic data were extracted using MediaPipe Hand pose estimation software. Clinical comparison tests were grip and pinch strength, 9 hole peg test (9HPT), and vibration, and patient‐reported dexterity assessments (ABILHAND). Feasibility and acceptability were evaluated (Health‐ITUES framework). A validation cohort (N = 35) completed 9HPT and videos. Results: The modality was feasible: 88% of the 50 enrolled participants uploaded ≥3 videos, and 74% completed the study. It was also usable: assessments easy to access (95%), platform easy to use (97%), and tasks representative of daily activities (86%). The buttoning task revealed four metrics with strong correlations with 9HPT (nondominant: r = 0.60–0.69, dominant: r = 0.51–0.57, P < 0.05) and ABILHAND (r = −0.48, P = 0.05). Retest validity at 1 week was stable (r > 0.8). Cross‐sectional correlations between video metrics and 9HPT were similar at 6 months, and in the validation cohort (nondominant: r = 0.46, dominant: r = 0.45, P < 0.05). Over 6 months, pinch strength (5.8–5.0 kg/cm2, P = 0.05) and self‐reported pinch (ABILHAND) decreased marginally. While only 15% of participants worsened by 20% on 9HPT, 70% worsened in key buttoning video metrics. Interpretation: Patient‐uploaded videos represent a novel, patient‐centered modality for capturing dexterity that appears valid and sensitive to change, enhancing its potential to be disseminated for neurological disease monitoring and treatment. [ABSTRACT FROM AUTHOR]

Despite its everydayness, girls' digital exposure is often conceived as scandalous. Concerns about the potential of leaked nudes to "ruin" a girl's life are part of a long history of moral panics about girls and technology that mask fears about the public expression of female sexuality. Much teen media, however, counters this panic by exploring the social and technological dynamics at play in practices of sending sexual selfies. This article analyzes teen magazines and TV series to map the alternative mainstream discourse through which girls might frame their practices of self-exposure. Teen media incorporates the exposure built into everyday technological interactions in ways that allow girls' consensual sexuality to exist, visibly, as everyday. Magazines like Rookie and Teen Vogue and series like Riverdale and Pretty Little Liars employ such discourses in ways that often protect the hegemony of white femininity, even as they defend girls' right to privacy and expose the unique consequences of exposure queer girls. Teen media begins to offer alternative discourses of young women's sexual selfies that are aligned with the social and technological realities of digital culture, and which girls can mobilize to deconstruct exclusionary norms of privacy and visibility. [ABSTRACT FROM AUTHOR]

This study aims to investigate how young Chinese women use selfie-editing apps to create idealized versions of themselves and how these practices help them construct their identities. By conducting 30 interviews with highly educated Chinese women between the ages of 18 and 30 living in urban cities, the results of this study indicate that taking, editing, and sharing selfies have become increasingly embedded in their everyday lives. The female interviewees use the apps to narrow their jawline, change the size of their eyes and nose, remove acne, and smooth their skin, revealing that young women in China are not completely free of patriarchal beauty standards. However, the interviewees acknowledge that the selfies have captured their real lives and conveyed their personalities. They have been able to express their true selves and have gained self-pleasure from this process. In this way, the interviewees' online self-representation is deeply linked to their offline lives. This study enriches current debates on women's empowerment in contemporary China. The practice of online self-representation can be viewed as a process of self-actualization because it empowers women by solidifying their agency and further contributes to the formation of a reflexive identity. [ABSTRACT FROM AUTHOR]

This study aims to understand how people engage with art in the era of selfies, digital devices, and social media. It examines the audience experience of an art exhibition, where visitors are encouraged to use social media to share their art experience, to understand how such an approach might change the nature of visitor engagement with art. Arguably, selfies taken in the art space enrich the visitor's experience and engagement with art and function as co-creational, empowering, and authentic marketing tools for museums. Data for this research were collected through non-participant observation (ethnography) and netnography at the National Gallery of Victoria, in Melbourne, Australia. The results show that rather than promoting disengagement from the art piece, selfies in the art space become "networked material-discursive entanglements" empowering art consumers to co-create value and arts organizations to reduce their distance from consumers and reproduce the iconic authenticity of the artwork in the virtual space. The article contributes to selfie theory by overcoming the traditional view of selfies as manifestation of narcissistic self-expression. Instead, it promotes an interpretation of selfies as an empowering and democratizing means used by art consumers to develop narratives and identity projects in a context such as the museum where traditionally the development of the narrative is apanage of an elite. A further contribution provided by this research stems from the identification of clusters of visitors (i.e., reality escapers, art lovers, photoholics, and selfie lovers), placed on a continuum of value co-creation, which arts administrators need to be conscious of as they enter a more dynamic era of art consumption. By outlining managerial implications, this study provides an initial reflection on how arts managers can navigate the emerging era of the selfie in the museum context. [ABSTRACT FROM AUTHOR]

Structure-constrained molecular optimisation aims to improve the target pharmacological properties of input molecules through small perturbations of the molecular structures. Previous studies have exploited various optimisation techniques to satisfy the requirements of structure-constrained molecular optimisation tasks. However, several studies have encountered difficulties in producing property-improved and synthetically feasible molecules. To achieve both property improvement and synthetic feasibility of molecules, we proposed a molecular structure editing model called SELF-EdiT that uses self-referencing embedded strings (SELFIES) and Levenshtein transformer models. The SELF-EdiT generates new molecules that resemble the seed molecule by iteratively applying fragment-based deletion-and-insertion operations to SELFIES. The SELF-EdiT exploits a grammar-based SELFIES tokenization method and the Levenshtein transformer model to efficiently learn deletion-and-insertion operations for editing SELFIES. Our results demonstrated that SELF-EdiT outperformed existing structure-constrained molecular optimisation models by a considerable margin of success and total scores on the two benchmark datasets. Furthermore, we confirmed that the proposed model could improve the pharmacological properties without large perturbations of the molecular structures through edit-path analysis. Moreover, our fragment-based approach significantly relieved the SELFIES collapse problem compared to the existing SELFIES-based model. SELF-EdiT is the first attempt to apply editing operations to the SELFIES to design an effective editing-based optimisation, which can be helpful for fellow researchers planning to utilise the SELFIES. [ABSTRACT FROM AUTHOR]

Introduced in 1907, the 'real photo' postcard destabilized the boundaries between private and public life, enabling people to perform identity in ways that anticipate contemporary social media practices. In this visual essay, the author explores one particular phenomenon – the sharing of food – drawing comparisons with 'foodstagramming' in terms of its compositional structure, social objectives and communicative functions. In doing so, she challenges the supposed novelty of modes of self-presentation on social media, embedding them in a broader historical trajectory. [ABSTRACT FROM AUTHOR]

Performances of self on social media are mediated via platform interfaces and social rituals while dramaturgical or theatrical perspectives of frontstage/backstage identity are frequently drawn upon in scholarship. However, emphasis on face and self-portraiture tends to background other forms of representation exhibiting objects, places and the various people that could be viewed as facets of the extended or disembodied self. In this article, Instagram is taken as a case to illustrate self-(re)presentations, beyond icons or selfies (the popular term for photographic self-portraiture), to include the symbols and indexical signs of subjectification. To this purpose, the author draws on the semiotic philosophy of Charles Sanders Peirce (1839–1914) in order to develop an analytic table of sign correlates. The Peircean sign doctrine is applied to systematically analyse observable elements as well as to consider the routine, abstract and conceptual sign phenomena constituting meanings in an interpreter's mind. The analytic framework helps to unravel a series of densely stitched compound-signs, interweaving Instagrammers' self-(re)presentations. Importantly, the sign typology does not dispense with performative ontologies entirely but suggests that signs of self cannot necessarily be removed 'backstage'. Conversely, considering self-(re)presentations, beyond facial displays, is fruitful for theorizing what is shown, inferred as well as obscured. In turn, this illuminates self-(re)presentations orchestrated within broader sociomaterial constructs and the symphony of signs. [ABSTRACT FROM AUTHOR]

Selfies posted on social media using feminist hashtags have the potential to depict greater diversity and authenticity than the established ideal of female beauty and femininity (young, white, slim, and heteronormative women), but are also at risk of promoting self-objectification. The hashtag #bodypositive is understood as the embodiment of an empowering feminist space. However, it is unclear to what extent diverse body images that deviate from the established ideal can actually be found under this hashtag on a platform such as Tumblr that allowed NSFW [Not Safe For Work] content without restrictions until 2018. This research aims to analyze selfies on Tumblr posted by women in 2017 (n = 300) using the hashtag #bodypositive in an exploratory content analysis (quantitative and qualitative) including the following textual content: posted texts (n = 300), additional hashtags (n = 4,498), blog descriptions (n = 296), and user reactions, including comments (n = 91). The results reveal less diversity than expected but many protagonists at least slightly deviate from the mass mediated beauty ideal. Stereotypically female ways of self-presentation are used exaggeratedly. Most pictures were embedded in blogs promoting self-acceptance, rather than self-improvement and have received positive user feedback. [ABSTRACT FROM AUTHOR]

Taking and posting selfies is a popular activity, with some individuals taking and sharing multiple selfies each day. The influence of the selfie angle, as opposed to more traditional photo angles such as the allocentric images we see in print media, on our aesthetic judgements of images of bodies has not been explored. This study compared the attractiveness and weight judgements that participants made of images of the same bodies taken from different visual angles over a series of four experiments (total N = 272). We considered how these judgements may relate to disordered eating thoughts and behaviours. Selfies were judged to be slimmer than images from other perspectives, and egocentric images were judged to be the least attractive. The way participants rated bodies seen from different perspectives was related to their own disordered eating thoughts and behaviours. These results contribute to our understanding of how we perceive the images we see on social media and how these might be related to how we feel about our own and other people's bodies. [ABSTRACT FROM AUTHOR]

Blood‐Brain‐Barrier (BBB) permeability is one of the critical factors in the success and failure of CNS drug development. The most accurate method of measuring BBB permeability involves clinical experiments, which are labour‐intensive and time‐consuming. Thus, numerous efforts were made to use artificial intelligence (AI) to predict molecules′ BBB permeability. Most of the previous models are based on calculated descriptors and molecular fingerprints. In the present work, we have developed an NLP‐based feature extraction technique in Deep‐Learning models to predict BBB permeability. We have used the B3DB database and generated SELFIES to extract features from the molecules. We have employed word level and N‐gram tokenization to represent words into numeric vectors. The extracted features were fed into several Artificial Neural Network (ANN) and Bi‐directional Long Short‐Term Memory (LSTM) models. The model, ANN‐10 built using ANN and 6‐gram tokenization, performed best on the independent test set. The accuracy, precision, recall, F1, specificity and AUC of ROC scores were found to be 0.89, 0.91, 0.91, 0.91, 0.85 and 0.90. Thus, the developed model can be used for the early screening of CNS drugs. [ABSTRACT FROM AUTHOR]

This article examines the social media-induced affective notion of fame from the perspective of people living in peripheries, such as the region of Northeast India, whom the mainstream media (and by extension, the popular imagination) have always obscured, or somewhat suppressed. When they come across these visibilityinducing social media platforms, does this lead to the creation of new forms of celebrityhood? This article observes three specific people from the region - a filmmaker, a small-time Bollywood actor, and an Instagram dancing sensation. The case studies outline their usage of the affordances of the social media platforms through which they acquire a kind of cultish fame. It examines how they leverage fame to instil the greater North-east region in the popular national imagination. This article claims that social media is not merely a platform for these artists to connect with and maintain their audiences, but also a place to create awareness, to define their identity and reveal the socio-historical fractures that they have inherited. This article extends the notion of micro-celebrity (Senft, "Keeping It Real on the Web") to dwell on the relationship between media-managed obscurity and social media-enabled self-promotion to conceptualise the category of in-betweeners. [ABSTRACT FROM AUTHOR]

The article attempts to explore the specific performative and digital practice of users sharing digital self-images and videos on social media platforms in which they cry, with or without a 'tear filter'. In this article, the author employs Netnography (Kozinets, 2010) to look at social media accounts and online archives to track the origins of the trend of 'crying videos on TikTok' and through comments, reactions, and user interactions, attempts to understand how grief is performed on Instagram and TikTok. The article offers a diversion from the ossification of the current scholarship on self-images and identity construction on social media by looking at the marketability and entanglements in ecologies of commerce and sociality that the crying videos lead to. [ABSTRACT FROM AUTHOR]

The article discusses the exhibition "Cripping Masculinities: Designing Fashion Utopias" held at Tangled Art + Disability in Toronto. The exhibition focused on the fashion worldbuilding of Disabled, Deaf, and Mad-identified men and masculine people. The exhibition was part of a larger research project conducted by the Cripping Masculinities research team, which included researchers from Toronto Metropolitan University, University of Alberta, and Parsons School of Design. The exhibition featured garments created during clothing design workshops, as well as 3D-printed mannequins made in the likeness of participants. The show aimed to uplift the voices of Disabled people in the fashion industry and create a utopian vision of fashion for Disabled individuals. The exhibition was inclusive and accessible, with efforts made to provide ASL interpretation and tactile experiences for visitors. The display methods intentionally reflected fashion retail spaces, and participant quotes were prominently featured throughout the exhibition. Overall, the exhibition successfully celebrated the creativity and expressiveness of Disabled individuals in fashion. [Extracted from the article]

This article develops a theory of selfies as reflexive practices of self‐coordination. Building on pragmatist sociology of engagements, I conceptualize selfies as digital practices of coordinating with the self in formats that are recognizable for others. This framework allows approaching the self as an act of coordination, simultaneously shaped by, and equipped to subvert the cultural conditions of how we ought to be. As these conditions are increasingly enforced and negotiated in the socio‐technological arrangements of digital platforms, the article proposes an approach for making sense of selfies as key contemporary tools of self‐making. Based on ethnographic work among activists with marginalizing experiences, I ask how the self is coordinated in the activists' selfies. I identify four ways of coordinating with the self in selfies: the self in a plan, the self in exploration, the affirmed self, and the self as public critique. The article contributes to our understanding on how practices of self‐making evolve in an increasingly visual‐digital society, and provides an approach for conceptualising the self as plural. By approaching the selfie as different formats of relating to the self, the framework proposed accounts for the possibility of multiple selves now afforded by digital technologies and enables analysing their politicizing potential. [ABSTRACT FROM AUTHOR]

After participating in US elections, voters have begun to share "I voted" selfies, or networked self-portraits that display their political participation. "I voted" selfies exist at the intersection of competing ideals of citizenship, including dutiful citizenship, which centers civic duty and voting, and self-actualizing citizenship, which focuses on individualized and expressive forms of political participation. I argue that these images can be understood through historically resonant communication practices, namely, as a mediated manifestation of 19th-century political congregations that I term embodied mass communication. To trace how voters perform embodied visions of citizenship through shared practices of digital self-representation, I conducted a content analysis of "I voted" selfies posted to Twitter on US Election Day 2016. In these selfies, voters present their bodies as civic evidence, frame individual representations to signify visual collectives, and creatively contextualize their political participation. Their selfies suggest how representational rituals can reflect and reconstitute citizenship models. [ABSTRACT FROM AUTHOR]