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Eles são os profissionais que trouxeram a eternidade para nossas vidas. Com suas câmeras e químicos insalubres e um bom conhecimento sobre o aproveitamento da luz, eles fizeram com que as nossas feições únicas ficassem registadas para os séculos vindouros. No entanto, agora, com o advento da fotografia digital nos smartphones e a moda do selfie, parece que a sua função ficou meio esquecida. Será? É uma resposta a esta pergunta o que provoca a discussão que fazemos neste texto. info:eu-repo/semantics/publishedVersion

Cet article propose une étude portant sur certains modes d’énonciation présents sur les réseaux sociaux, qui se caractérisent par l’incorporation constitutive d’une représentation visuelle du locuteur. Nous définissons le selfie – (auto)portraits mis en scène sur les réseaux sociaux – comme un dispositif d’énonciation, et nous décrivons les nouvelles pratiques de représentation du dire et du moi qu’il développe. Le corpus est constitué de textes verbaux et (audio)visuels diffusés par le biais d’une campagne institutionnelle contre la violence de genre, ayant appelé à la participation active des femmes internautes, lesquelles ont contribué avec des photos d’elles-mêmes destinées à être publiées sur Instagram. La ressource de marquage sur Instagram est exploitée par la campagne comme une sorte de technologie touchante ayant pour effet de persuader le public. L’analyse décrit ce mode d’énonciation comme une mise-à-corps du locuteur, qui légitime la place de la parole pour les sujets subalternes. This article proposes a study on certain modes of enunciation on social networks, which are characterized by constitutively incorporating a visual representation of the speaker. We define the selfie – (self) portraits staged on social networks – as a device of enunciation, and we describe the new practices of representation of speech and of the self that it develops. The corpus contains verbal and (audio) visual texts circulated by an institutional campaign against gender violence, which called for the active participation of women Internet users, who contributed with photos of themselves intended to be posted on Instagram. The tagging resource on Instagram is exploited by the campaign as a kind of touching technology with the effects of persuading the public. The analysis describes this mode of enunciation as an embodied representation of the speaker, which legitimizes a place of speech for subaltern subjects.

Este artículo discute cómo el discurso publicitario se ha apropiado del selfie y lo ha incorporado a sus estrategias creativas. Responde a un análisis de la cultura visual contemporánea y de cómo sus regímenes escópicos readaptan al selfie a las convenciones visuales actuales, ya sea con el propósito de posicionar un producto, su carácter disruptivo o innovador o, por el contrario, de utilizar el selfie como una forma de naturalizar representaciones de la individualidad y la privacidad en tanto muestras de una supuesta transparencia y autenticidad. En las culturas participativas actuales, el selfie deviene una mercancía, tanto simbólica como económica, su monetización demuestra cómo, más que una imagen, se trata de un dato que se cuantifica y se monetiza dado su alto valor de diseminación en las redes sociales. Desde los estudios visuales, se analiza el selfie y su proceso de monetización, es decir, cómo la imagen deviene en valor, tanto valor de marca, como valor en una economía digital. Desde los estudios críticos se valora cómo el selfie interpela, en el sentido althusseriano, tanto a identidades individuales como puede convocar a colectivos para participar de una identidad más planetaria. Además, su valor de cambio e inmediatez son simultáneamente comodificados y estetizados en la confluencia de topoi de “alta cultura visual” con prácticas de consumo y estrategias de marca. Se incluye también el selfie en el caso de Dove, especialmente en el 2014, cuando esta marca resignifica esta práctica de la mirada en la lógica de las culturas participativas. Finalmente, discute algunas campañas de consecución de fondos que han optado por promover la cultura del selfie para diseminar sus ideas y objetivos con fines de bienestar social

Introduction: Advances in technology are leading to a new way of addictive behaviour in humankind. One among them is clicking selfies. This is leading to a lot of worries in the researcher that, considering this with association with psychological changes which are being labeled as a particular disease or disorder. Even though many have concluded that excessive use is a psychological disorder. Here it's an attempt to see the selfie clicking behaviour in students. Materials and Methods: All the students of the professional colleagues who are above 18 years of age and having smartphones were briefed about the study. And only those individuals willing to be a part of the study and gave consent were included in this study. Questionnaires were designed and validated before giving the forms to the students. Anonymities of these participants are well maintained and kept confidential. Discussion: Study participants have answered all the questionnaires and the majority of them were answering that they are clicking selfies definitely in less than a month from the last selfie. Reasons quoted for these are getting ready and send the location to other family or friends. And it also included the group who even taken these selfies to check the quality of the camera in their smartphone. Conclusion: Clicking selfies is a routine event for the study participants in our study.However there was no psychological precipitating factor in these individuals; taking selfies within a month fromthe previous selfie, and informing the other folks about their status was attributed to information sharing about the status. However, the participants mentioned that the quality of the smart phone camera was one of the reasons why they were clicking these selfies. Keywords: Smartphone, Picture, Students.

Sharing “selfies” on social media is common among adolescents. The frequency with which adolescents post selfies may be less important than behaviors and cognitions underlying selfie-posting, and these practices may differ by gender. This multi-method study explored selfie practices in a school-based sample of 639 adolescents (M(age)=17.6; 53.5% female). Participants completed self-report measures of selfie practices, body esteem, depressive symptoms, and peer behaviors. In addition, a subset of participants’ social media pages (n = 245) were observationally-coded for numbers of selfies, followers, and likes. Factor analyses revealed two distinct selfie practices: selfie appearance investment and selfie peer feedback concern. Girls posted selfies more frequently, and reported greater levels of appearance investment and concern over peer feedback on selfies compared to boys. Multiple group structural equation models indicated that for boys and girls, selfie appearance investment was associated with depressive symptoms. For girls only, selfie peer feedback concern was associated with excessive reassurance-seeking and lower body esteem. No associations were revealed between observationally-coded measures of selfie-posting frequency and psychosocial outcomes. Overall, findings suggest that frequency of selfie-posting may be less relevant for understanding adolescent adjustment than investment in and concern over the selfie-posting experience.

With the ongoing COVID-19 vaccine rollouts, it is a popular trend among vaccine recipients to share their vaccine selfies on their Facebook, Instagram, and Twitter accounts. Individuals sharing the...

Purpose Selfie tourism is a fast-growing phenomenon. Given the convenience of photo-snapping and photo-sharing on social media, selfie tourism is seen as an emerging trend among travelers. This phenomenon gave consequence toward travelers’ behavior, especially on how it can affect their memorable tourism experience and place attachment. This paper aims to examine the relationship between selfie tourism, memorable tourism experience, hedonic well-being and travelers’ place attachment. Design/methodology/approach A self-administered survey method is used. This research was carried out during the COVID-19 pandemic, consequently, the data were collected via Google Form (online). The respondents are tourists who have visited various tourism destinations in West Sumatera, Indonesia. To test the hypotheses of this study, questionnaires are distributed to 450 respondents. The proposed model was tested using structural equation modeling. Findings The results of this study shows that selfie tourism has a positive and significant relationship toward both memorable tourism experience and hedonic well-being. In addition, memorable tourism experience and hedonic well-being also have a significant relationship with place attachment. Research limitations/implications The limitation of this study lies in the limited reference to the relationship between selfie tourism and memorable tourism experience and hedonic well-being, because this is the first study to examine the relationship of these variables. This study also has not tested the direct relationship between selfie tourism and place attachment and has not considered eudaemonic well-being as an antecedent of place attachment. Further research will discuss the direct effect of selfie tourism and eudaemonic experience on place attachment, as well as the moderating effect of memorable tourism and hedonic well-being. Practical implications This study shows the benefits obtained by tourism managers in preparing selfie facilities, as well as the ability to create meaningful experiences. It provides tourism practitioners with an understanding that tourist place attachment can be improved by both memorable tourism experience and hedonic well-being. Furthermore, both memorable tourism experience and hedonic well-being can be affected by selfie tourism. This understanding can enhance the tourism providers’ strategy to improve services that fit the characteristics of today’s tourists. Therefore, selfie tourism, memorable tourism experience and hedonic well-being can support tourism sustainability, especially in creating place attachments. Originality/value To the authors’ knowledge, this is one of the first studies that investigated the relationship between selfie tourism, memorable tourism experience and place attachment. From a market-specific context, this is also the first study that investigated the antecedents of place attachment on West Sumatera’s tourism.

We build on the limited research on selfie editing by studying novel drivers and consequences of it. We study the psychological self-conscious drivers self-esteem, body comparison with peers and models/celebrities, and cybervictimization. We also study social media addiction and life satisfaction as consequences of selfie-editing. We test our hypotheses using survey data gathered from a nationally representative sample of female teenagers in Uruguay (n = 233), a country with levels of internet penetration comparable to those of Germany and Singapore. Our findings suggest that low self-esteem and cybervictimization are positively associated with selfie editing. However, only body comparison tendencies with peers – rather than models or celebrities – lead to more selfie editing. Finally, we show that selfie editing is positively associated with social media addiction and negatively associated with life satisfaction, yet only for teens with higher body-image discrepancy.

Feminism sheds light on women's identities in a variety of ways, along with criticism of gender discrimination and male-centered thinking. In particular, Cindy Sherman's selfie, known as a feminist photographer, expresses various women's images, showing a new identity of women. This study examined feminism makeup that expresses women's self-identification in the recent emergence of Me Too and feminism, and analyzed feminism makeup in Cindy Sherman's self-portrait to find out its aesthetic characteristics. First, the nature of Cindy Sherman's feminism makeup was expressed as dominant masculinity. Through various typical forms of beard, he strongly emphasized masculinity, and his eyebrows were thick and dark, and his facial contour was manly. The beard is a symbol of masculinity and a facial expression of social status and character, so Cindy Sherman actively expresses herself as a feminine figure with feminism makeup. Second, Cindy Sherman's characteristics of feminism makeup expressed the characteristics of benignity, which are caused by the confusion of femininity and masculinity. It emphasizes a positive image to exaggerate the image of a man with feminine features and a manly hairstyle and long, voluminous eyelashes. This positive image can also be seen in postmodernism Androgenus look or Genderless look, and is also the best characteristic of feminism makeup. Third, Cindy Sherman's feminism makeup characteristics had the characteristics of typistic femininity. She expresses her female identity through the image of a powerless and shabby woman by turning herself from a young movie star to an old woman. Fourth, Cindy Sherman's feminism makeup characteristics express the characteristics of detachment with ugly beauty. Such makeup is unstable in shape, and there are many distorted or modified images, but Cindy Sherman's selfies also showed this ugly look of herself. Fifth, Cindy Sherman's feminism makeup is bizarre and gives grotesque horror in the form of witches or vampires. Witches and vampires, who lack femininity, expressed feminism not in the image of women obedient to patriarchal men, but rather in horror. Sixth, Cindy Sherman's characteristic of feminism makeup is to portray herself as a clown or a clown, or a clown, to represent a caricature. Sherman's clown series is already well known for its makeup that shows feminism in women. The clown always smiles in the costume, but the inner figure symbolizes the repressed and sad woman herself and is an expression of Sherman's own image.

Dijital dünyada gün geçtikçe daha da fazla imaja dayandırılan tüketim, çalışma kapsamında mercek altına yatırılacak ve reklam kampanyalarında gözlemlenen ‘Selfie’ kullanımı ve sosyal medya sitelerinden Instagram’ın filtrelerime yönelik reklam örneklerine yer verilirken, viralleşmiş en başarılı ve öncü kampanya örnekleri, imaj yaratma ve narsizm çerçevesinde incelenecek; reklamın öz-tüketim ile ilişkisi \"selfie\" penceresinden mercek altına alınacaktır. Selfie ile imajlaşan bireyin tüketimde nasıl nesneler arasında yer aldığı sorgulanırken, konuya ilişkin kapsamlı literatür taramasının yanında tıklanma ile görülme sayıları yüksek olan ve sektöründe tanınan sosyal media analiz şirketlerince örnek gösterilen ‘özçekim-selfie’ konulu, ulusal ve uluslararası olmak üzere iki viral reklam kampanyası örneği üzerinde göstergebilimsel analiz yöntemi kullanılarak bir inceleme yapılmıştır. In the digitalized World of today, image has become the primary consumption parameter. Within the scope of this study, examples of successful and pioneering campaigns that have gone viral will be examined within the framework of image creation and narcissism while some academic findings on the use of selfies in advertising campaigns will be analyzed. In this respect, the relationship between advertising and self-consumption will be scrutinized from the scope of "Selfie". In the study, besides the comprehensive literature review on the subject, a semiotic analysis method will be applied on the examples of two national /international viral advertising campaigns with a "selfie "hashtag (#)”, which have high number of clicks and are exemplified by well-known social media analysis companies in the sector.

Social Networking is used by a lot people in this world so they still can connected with their families, friend and customer. Some people used to tell their families or friend what’s their dailies do by putting a picture selfie. The most important part where there’s a people use Social Networking as business purpose like make adversiting for their business without use any capital.The purpose of the study was investigated how far the effect of electric Word Of Mouth (eWOM) inside social networking sites (facebook) on consumer purchase intention through mobile phone.This study produced existing literature of electric Word of Mouth, Value co-creation, and customer behavior in social networking sites and with our search will help marketers to develop a new ways to share their product information on networking sites.

If at its beginnings the Selfie was interpreted as an expression of the narcissism of contemporary culture, at the time of Covid-19 not only does it become the ordinary mask of the show performed on the stage of social networks, but it acquires the power to act on the social body. The Selfie, therefore, can be characterized as an iconic two-faced act with contradictory and ambiguous intentions and outcomes. The contribution examines the case of the Vaccine Selfie, in this particularly emblematic sense.

Architecture is an integral part human life. It influences the psyche and health of people, causing certain associations. Architectural objects are often captured through the lens of cameras. Selfie culture has become a powerful tool for promoting new meanings and designing modern public spaces. The need for selfie backgrounds is increasing. This encourages artists and architects to create interesting solutions for urban space. There are examples of urban street art in many cities around the world and in Russia. In Tyumen, there are memorable objects for visitors and its residents, which in turn are urban landmarks and are responsible for the strategic and economic development of the city. They are recognizable, stand out against the background of a monotonous environment and help to navigate the urban landscape. As a result of conducted research, the nformation is obtained on the most popular places for photos in the city of Tyumen. Territories can be divided into the following categories: environment, object and background. An architectural structure that meets all the criteria and is a key symbol of the city is selected from the objects considered. The selfie architecture of Tyumen is an integral part of the culture of today. However, at the moment in Tyumen there are no popular truly utilitarian spaces intended only for photos as it happens in other cities.

We explored the relationship between being phubbed by one's peers and selfie liking, and examined the mediating effect of attention seeking and the moderating effect of gender in this relationship. An online survey was conducted with 427 university students. The results reveal that peer phubbing was positively related to attention seeking and selfie liking. Further, attention seeking was positively related to selfie liking, and attention seeking mediated the relationship between peer phubbing and selfie liking. The indirect pathways involved gender differences, with a stronger indirect effect for men compared to that for women. Thus, gender moderated the relationship between peer phubbing and attention seeking, as well as the relationship between attention seeking and selfie liking. These findings illustrate that selfierelated behaviors may function as a buffer for being phubbed. Moreover, phubbed individuals are prone to engage in attentionseeking behavior and frequent selfie liking.

One or two pictures from the winter of 2006 are caged in my external hard drive, carried around between homes. They are safe, but out of the way. One of them is a selfie, from before pictures of on...

For a detailed description of the study, please see our published study protocol (1). This preregistration includes the Statistical Analysis Plan (see sections 21-25) for this multicenter randomized controlled trial, which must be read and considered in conjunction with the published study protocol (1). Targeting low self-esteem in youth exposed to childhood adversity is a promising strategy for preventing adult mental disorder, but psychological help remains difficult to access and accept for youth, calling for novel, youth-friendly approaches. Mobile Health (mHealth) and, most prominently, ecological momentary interventions (EMIs) provide a unique opportunity to deliver youth-friendly, personalized, real-time, guided self-help interventions. The aim of the SELFIE trial is to investigate the efficacy of a novel, accessible, transdiagnostic ecological momentary intervention for improving self-esteem (‘SELFIE’) in youth aged 12-26 years with prior exposure to childhood adversity. (Preliminary remarks) Sections of this pre-registration are taken from the SELFIE study protocol (please refer to Daemen, Postma (1) for further details). The present preregistration focuses on the main hypotheses on primary and secondary outcomes at 6-month follow-up that will be tested and reported in the first manuscript. In addition, we will report the statistical analysis plan for hypotheses relating to outcomes at 18-month and 24-month follow-up, which will be reported in a subsequent manuscript. The statistical analysis plan for hypotheses relating to hypotheses on cost effectiveness and cost utility will be described in a subsequent preregistration report.

Since social networks have become an essential part of young people’s lives, the present study examined the relationship between sharing and manipulating selfies on Instagram and related outcomes on body image. A total of 350 young adults from Italy and Portugal participated in the study. They completed measures on selfie-sharing, selfie-manipulation, appearance-based comparison, internalization of beauty ideals, and shame for their bodies. Gender, nationality, and type of account (public/private) were hypothesized to moderate the examined relationships. The results partially confirmed the hypothesized model, indicating that sharing selfies was positively associated with body shame through appearancebased comparison, which was also positively associated with beauty-ideal internalization. In contrast with the hypotheses, selfie manipulation was negatively associated with body shame. Gender and type of social networks account moderated these relationships, whereas no moderation role was found with regard to nationality. Findings showed that there are specific behaviors on Instagram associated with the feeling of shame about one’s own body. Limitations of the present study and implications for future research are discussed from a sociocultural perspective.

Robots don’t seem to be vain creatures taking snapshots of themselves. As functional machines, their purpose is to create a picture of the world without dwelling on the pleasures of self-presentation and self-admiration. However, robots have been taking selfies for quite a while. When Gigapan, a robotic camera mount designed to capture pictures of artwork for Google’s Art Project, traveled through the world’s most famous museums, it took a whole series of selfies by reflecting itself in the galleries’ mirrors. Another prominent photogenic robot is NASA’s Science Laboratory rover Curiosity. When it landed on Mars, it held its camera at robotic arm’s length to take head shots: truly authentic selfies, as they seem. Robot selfies raise questions about self-reflection and the concepts that are associated with it. Why does a robot take a selfie? What does it mean for a machine to capture and present itself? Is the robot selfie a way of android self-recognition and self-monitoring? Could it be that camera robots do not just circulate images but are capable of creating machinic self-awareness? The chapter addresses these issues to discuss what new territories the form of the robot selfie could explore. The first section considers the optical effect of reflection and its contribution to the formation of robotic self-depiction; the second discusses the process of technological transformation and the shift of knowledge constellations that is linked to it. The peculiarity of robot selfies, Gotto argues, lies in their aptitude to mediate between self-reflection and self-transformation. Robot selfies exist both as an effect and an alternative mode of selfie culture. As such, they are a prime site for investigating not only the logics and aesthetics of selfies but also the future potential of digital media culture.

The tourist spot of the Top Selfie Kragilan, Mt. Merbabu National Park, a conservation area in Indonesia has not been managed with a business strategy despite the community initiatives increase to utilize the surrounding tourist spots for their livelihood. The study aimed at formulating the tourism business management strategy using Business Model Canvas (BMC) and Strength-Weakness-Opportunity-Threat (SWOT) approaches. BMC modeling used nine aspects, namely customer segments, value propositions, channels, customer relationships, revenue streams, key resources, key activities, key partners, and cost structure; then analyzed using SWOT approaches. A total of 377 respondents were interviewed to collect the data. The results showed that every aspect of the old business model has been added or innovated according to the analysis of internal and external factors. Also, there has been a "meeting point" between market expectations, the value offered, and the promotional channels used. The combined strategy of Aggressive (S-O) and Diversification (S-T) should be applied to mitigate damage impact, conserve the natural resources, and arranging visits and selfie vehicles/ photo spot to boost revenue streams.

This study aimed to examine the effect of body image and self-esteem on selfie addiction among fresh female students at Ahfad University(Sudan), as well as to investigate the correlation between body image and self-esteem. To achieve those objectives, the researcher adopted the descriptive research method. The sample included (400) female students whose average age was (22.5) years, selected by using a simple random sample. The study was conducted by administering three scales. The results of the study indicated that (50%) of the sample suffered from the selfie addiction between moderate to severe levels. There was a significant correlation between selfie addiction, self-esteem and body image. Moreover, it was found that both body image and self-esteem had a predictive ability to increase likelihood of selfie addiction among females. The study recommended that professionals should consider preparing prevention programs for those who have traits of a selfie addiction behavior.

El logro de una competencia digital entre el alumnado se ha convertido en un objetivo principal dentro de las políticas educativas españolas de las últimas décadas. A este respecto, el Marco Europeo para Organizaciones Educativas Digitalmente Competentes (DigCompOrg) guía a los centros educativos en su proceso de digitalización de forma sistemática. Este trabajo evalúa el uso de las tecnologías de aprendizaje de un centro de enseñanza secundaria de la Región de Murcia (estudio de caso) según las dimensiones contempladas en el modelo europeo. El diseño de la investigación se fundamenta en el modelo ADDIE y escoge una metodología mixta en la que se aplican técnicas de tipo cuantitativo (cuestionario SELFIE) y cualitativo (grupo de discusión). Los resultados que se presentan aquí recogen el análisis de la información cualitativa del alumnado de Enseñanza Secundaria Obligatoria, profesorado y equipo directivo. Esta primera etapa de detección de necesidades ha permitido al centro establecer un proceso de autorreflexión y autoevaluación sobre su proceso de digitalización, así como la propuesta de acciones y estrategias de mejora que refuercen su compromiso con las pedagogías digitales. Entre ellas destaca el desarrollo de una estrategia digital de centro, establecer mecanismos de evaluación del progreso o trabajar con tecnologías de aprendizaje digital que fomenten la autoevaluación y coevaluación, acciones todas ellas relacionadas con las dimensiones de liderazgo y prácticas evaluativas del modelo europeo.

This paper explores the relationship between students’ digital competence acquisition, teaching practices, and teacher professional learning activities. We analysed insights provided by 59,452 teachers through SELFIE, an online self-reflection tool for schools’ digital capacity. Using ordinary least squares regressions with school fixed effects, we focus on students’ digital competence and find that the use of digital technologies in cross-curricular projects is the teaching practice most related to the acquisition of students’ digital competence. On the other hand, we also find that teachers’ participation in teacher networks is highly correlated with the implementation of cross-curricular projects with digital technologies. The results further suggest that the use of digital technologies for teacher collaboration (in professional learning activities and in implementing cross-curricular projects) can have great potential and importance in the digital age, both for teachers and learners.

The present study explores how the construction and distribution of selfies might interact with features of newer media to affect women who share selfies on social media. In particular, this study focuses on how specific types of photo modification and the nature of favorable audience feedback received on one's images might exert influence on women's state self-objectification and body image concerns. A 3 × 2 between-subjects lab experiment was conducted to explore how the type of photo modification (appearance modifications, nonappearance modifications, or no modifications [control]) and nature of positive feedback (appearance comments vs. nonappearance comments) affect state self-objectification, state appearance satisfaction, pro-cosmetic surgery attitudes, and willingness to distribute selfies on social media in the future. Results indicate that modifying selfies leads to less appearance satisfaction and lower pro-cosmetic surgery attitudes. Receiving appearance comments on selfies heightens state self-objectification, regardless of the type of photo modification. In addition, the more women self-objectified, the more inclined they were to share similarly objectifying selfies on social media in the future. The findings of this work provide a more comprehensive understanding of how women are impacted by the images they share online.

espanolLa practica artistica de Cristina Nunez usando el autorretrato comenzo en 1988 cuando giro la camara hacia si misma para superar el auto-estigma derivado de la adiccion. Un proceso que evoluciono de una practica artistica autodidacta a facilitar el autorretrato de otras personas, la llevo a idear The Self-Portrait Experience (SPEX). Desde 2004 Nunez realiza talleres SPEX en todo el mundo en diversos contextos, como el penitenciario, la salud mental, la recuperacion de adicciones y la transicion de los adolescentes. En estos talleres los participantes realizan un proceso "catalitico" transformando el dolor emocional en lo que se denomina obras de arte. La revision de las multiples percepciones de las imagenes producidas permite a los participantes ampliar la percepcion de si mismos. SPEX utiliza el poder de la fotografia digital ubicua de una manera que subvierte el formato comun de 'selfie', aprovechando la expresion inconsciente para explorar las emociones, con el fin de obtener nuevas percepciones y estimular el proceso creativo como reflexivo. A traves de la publicacion de autorretratos y proyectos autobiograficos, se conectan las dimensiones personales y sociopoliticas. La practica de Nunez con ella misma y con los demas propone un dialogo entre la expresion emocional y sus efectos de espejo en el publico. El objetivo general es proporcionar beneficios sociales tangibles, en forma de identificacion del espectador con los sujetos de las imagenes, mas que de disociacion y alienacion. EnglishCristina Nunez’s artistic practice using self-portraiture began in 1988 as she turned the camera to herself to overcome self-stigma derived from addiction. A process evolved of a self-taught artistic practice into facilitating other people’s self-portraiture, leading her to devise The Self-Portrait Experience (SPEX). Since 2004 Nunez holds SPEX workshops in diverse contexts, such as the penitentiary, mental health, addiction recovery and adolescent transition. In the workshops Nunez holds around the world participants perform a ‘catalytic’ process by transforming emotional pain into what is referred to as artworks. Reviewing the multiple perceptions of the images produced allows participants to look at themselves through new lenses. SPEX uses the power of ubiquitous digital photography in a manner that subverts the common ‘selfie’ format, leveraging unconscious expression to explore emotions, in order to gain new insight and stimulate the creative process as reflexive. Through the publication of self-portraits and autobiographical projects, the personal and socio-political dimensions are connected. Nunez’s practice with herself and others proposes a dialogue between emotional expression and its mirroring effects on the public. The overarching goal is providing tangible societal benefits, in the form of viewer’s identification with the subjects of the images, rather than dissociation and alienation.

Objective To develop an A.I-based automatic descriptor that detects and grades, from selfie pictures, 23 facial signs, hairs included, as a help to making-up procedures. Material and methods The selfie images taken in very different conditions by 3326 women and men were used to create (90% of dataset) and validate (10% of dataset) a new algorithm architecture to appraise and grade 23 different facial signs such as lips, nose, eye color, eyebrows, eyelashes, and hair color as defined by makeup artists. Each selfie image was annotated by 12 experts and defined references to train Artificial Intelligence (A.I)-based algorithm. Results As some the 23 signs present a continuous or discontinuous feature, these were analyzed by two different statistical approaches. The results provided by the automatic descriptor system were not only in good agreement with the expert's assessments but were even found of a better precision and reproducibility. This automatic descriptor system has proven a good and robust accuracy despite the very variable conditions in the acquisition of selfie pictures. Conclusion Such automatic descriptor system seems providing a valuable help in making-up procedures and may extend to other activities such as Skincare or Haircare. As such it should allow large investigations to better evaluate the consumers' needs of esthetical improvements.

This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary repre...

COVID-19 has been announced as a Global Communal Health Extremity by WHO on January 2020. Meaningful preventive solutions have been taken with smartphone selfie/geofencing apps toward managing mandatory home quarantine and physical distancing. In the post-COVID world, fast screening and strict quarantine can play a crucial role in bringing back normality. Quarantine being offered at home can be a comfortable solution for both government and patients. On the other hand, it can be hazardous if not strictly followed and adequately realized. However, the existing geofencing/face selfie apps take static photographs and location data at certain time intervals that can allow patients to violate the rules between those periods, thus failing to ensure active user identity. To realize unbreached home quarantine policies, this article introduces a CUBA-HQM smartphone app that performs continuous user biometric authentication (CUBA) augmented with geofencing using AI technology. The purpose of continuous tracking is to strictly control the spread of infectious diseases in society by monitoring the individual move in/out in the quarantine zone.

Social Networking Sites (SNS) user behavior has been discussed in association with SNS user personality characteristics, such as narcissism. However, gender and cultural influences on the relations...

‘Selfie practices’ (e.g., editing, filtering, sharing) have become adolescents’ daily behaviors. The increasing centrality of online visual self-presentation might increase adolescents’ appearance-related concerns, problematic monitoring, and photo manipulation (PM). However, few studies focused on body image control in photos (BICP) and PM, and no studies evaluated the influence of selfie-expectancies on photo-taking and photo-editing. Consequently, two studies were conducted. Study1 psychometrically evaluated the PM scale (N = 1353). Study2 evaluated the mediating role of BICP and the moderating role of gender in the relationship between selfie-expectancies and PM (N = 453). The revised PM scale showed good psychometric properties. BICP mediated the relationship between selfie-expectancies and PM and being male significantly affected the relationship between the variables. Implications for adolescents’ appearance-related issues are discussed.

Objective To assess the agreement, after 1-month application of a popular and efficient anti-aging product, between self-perceived facial signs of aging and those detected and graded by an automatic A.I-based system, using smartphones' selfie images. Material and methods Of 1065 Chinese women, aged 18-60 years, from eight different Chinese cities were recruited. They were asked to apply daily, for 1 month, a referential anti-aging product onto their whole face. Selfie images were taken by all subjects at D0 and D28 and sent to our facilities for being analyzed through 10 different facial signs. At D28 , all subjects were asked to fill a questionnaire on the status of their faces, through six general statements. Results A global agreement between both approaches is reached, particularly among women older than 40 years where the severity of facial signs is already more pronounced or among younger women who present at least facial signs scored above one grading units. This limit becomes, therefore, a prerequisite in the recruitment of Chinese subjects in the case of anti-aging applied studies and possible automatically based on automatic grading system. When respecting such conditions, the positive effects of the product on most facial signs can be demonstrated after 28 days of successive applications. Conclusion Such methodological approach paves the road in fulfilling the need of consumers of a better transparency in the claims of an anti-aging product.

The advancement of smartphone camera technology allowing a smaller, high-resolution forward-facing camera on a smartphone allows a user to see the image they are about to capture of themselves at arm’s length, therefore taking a ‘selfie’ image of themselves. The idea of a ‘selfie’ in a clinical setting is novel, but the exploration of this as a concept has been made necessary as COVID-19 infection and transmission risk is based on the proximity, that is, a susceptible person coming near to the person, who is infected. This report discusses an innovative smartphone-based device, oDocs nun IR, a retinal imaging device, as a tool for taking selfie retinal images/videos by patients, that could be later analyzed by the specialists/optometrists over the teleophthalmology portal.

This teaching report focuses on effectiveness of teaching pedagogies of the word formation process to Navajo students at a two-year college in the American Southwest. The activities used to teach the concepts of word formation are illustrated/described. The purpose of using authentic examples including songs from popular culture is to make students aware that these linguistic concepts are related to their everyday lives and in the hope that they can utilize these concepts and integrate real-life examples in their future teaching career. A feedback form was administered to collect the students’ views toward the pedagogies including activities in an introductory Linguistics class.

This study investigated the effects of taking photos (of the self or objects) on women. Objectification theory states that women are subjected to societal pressure to focus on their physical appearance. The emergence of social media as a communication channel has further reinforced the emphasis on women's appearance, beauty ideals, and body image. On social media, selfies serve as a self-presentation of one's appearance to an online audience. In this 2 × 2 experiment, women (N = 120, Mage = 19.87) took pictures of themselves (i.e., selfies) or objects. They were told beforehand that these pictures would be kept private or that they would be posted online on social media. After taking pictures, we assessed women's self-objectification, mood, and self-esteem. Women then engaged in a photo tagging task in which they selected hashtags for selfies of other women. Selfie takers expressed higher self-objectification, more negative mood, and diminished self-esteem compared to those taking pictures of objects. Selfie takers also demonstrated comparatively less social aggression, using fewer derogatory tags on other women's pictures. Although taking selfies may negatively affect producers, there may be benefits for online social interaction with peers.

This study explores the impact of repression of foreign protests and the media source reporting the news upon American foreign policy preferences for democracy promotion abroad. We use two survey experiments featuring carefully edited video treatments to show that even short media clips presenting foreign protests as violently repressed increase American support for targeted sanctions against the hostile regime; however, these treatments alone do not inspire respondents to political action. Furthermore, we do not find evidence that mobile treatment magnifies the effects of violence.

In this study, we examine the social and psychological motives for a set of strategic selfie-related behaviour including the manipulation and sharing digital images of oneself, captured by oneself....

This article studies selfie-production as a socio-technological affective practice, bringing attention to a new and largely unstudied type of selfies, private selfies. Discussing an example of five...

We propose a novel algorithm for stabilizing selfie videos. Our goal is to automatically generate stabilized video that has optimal smooth motion in the sense of both foreground and background. The key insight is that non-rigid foreground motion in selfie videos can be analyzed using a 3D face model, and background motion can be analyzed using optical flow. We use second derivative of temporal trajectory of selected pixels as the measure of smoothness. Our algorithm stabilizes selfie videos by minimizing the smoothness measure of the background, regularized by the motion of the foreground. Experiments show that our method outperforms state-of-the-art general video stabilization techniques in selfie videos.

In 2013, the Oxford English Dictionary selected ‘selfie’ as the word of the year. Since that time, selfies have been much discussed in the media and increasingly in academia. Selfie culture is gend...

Many camera apps and online video conference solutions support instant selfie segmentation or virtual background function for entertainment, aesthetic, privacy, and security reasons. A good number of studies show that Deep-Learning based segmentation model (DSM) is a reasonable choice for selfie segmentation, and the ensemble of multiple DSMs can improve the precision of the segmentation result. However, it is not fit well when we apply these approaches directly to the image segmentation in a video. This paper proposes an N-Frames (NF) ensemble approach for a selfie segmentation in a video using an ensemble of multiple DSMs to achieve a high-performance automatic segmentation. Unlike the N-Models (NM) ensemble which executes multiple DSMs at once for every single video frame, the proposed NF ensemble executes only one DSM upon a current video frame and combines segmentation results of previous frames to produce the final result. For the experiment, we use four state-of-the-art image segmentation models to make an ensemble. We evaluated the proposed approach using 81 videos dataset with a single-person view collected from publicly available websites. To measure the performance of segmentation models, Intersection over Union (IoU), IoU standard deviation, false prediction rate, Memory Efficiency Rate and Computing power Efficiency Rate parameters were considered. The average IoU values of the Two-Models NM ensemble, Two-Frames NF ensemble, Three-Models NM ensemble and Three-Frames NF ensemble were 95.1868%, 95.1253%, 95.3667% and 95.1734% each, whereas the average IoU value of single models was 92.9653%. The result shows that the proposed NF ensemble approach improves the accuracy of selfie segmentation by more than 2% on average. The result of cost efficiency measurement shows that the proposed method consumes less computing power like single models.

Background. The reasons and consequences of people’s activity on social networks have not been sufficiently studied. Most studies have focused on identifying the dangers and risks associated with posting self-portraits on social networks, but it is an open question as to whether such behavior serves to increase people’s psychological well-being. Objective. We asked ourselves what are the main motives for publishing selfies and whether online activity contributes to psychological well-being. Design. Our study involved 96 respondents from Moscow, mainly psychology students, who provided information about their activity on social networks, and completed questionnaires on their motivation, social support, and psychological well-being. Results. Three main motives for publishing selfies were identified: 1) to increase self-esteem; 2) maintain social contacts; and 3) preserve and exchange information. The higher the ratio of selfies taken to preserve information, the higher was the user’s psychological well-being. We found significant differences between the characteristics of those participants with high and low activity, and larger and smaller numbers of “friends” in social networks. For those with high activity, their sense of psychological well-being was largely determined by interaction with others. For these persons, communication (including with virtual contacts) was the important resource of well-being. The other group was less dependent on others, and for them, psychological well-being was not related to their activity on social networks. Conclusion. Our results confirm the connection between the personality traits and characteristics of the respondents’ network behavior and their psychological well-being. The study showed that the type of correlation constellation differs between groups of respondents depending upon how much or how little they are oriented toward social support.

Selfie studios and selfie museums are retail locations where customers pay to take pictures with multiple highly aestheticized backdrops, props, and set pieces. In the last year alone, over 200 such businesses have operated across the United States, ranging from swanky pop-ups in large cities to new storefronts in decaying suburban shopping malls. They are characterized by two production dynamics: that of the selfie studio owners and personnel who design the sets and maintain the space, and that of the customers who use the space to take photos and create content for social media. This thesis attends to each production dynamic while also considering the aesthetic and spatial composition of these spaces themselves, suggesting that selfie studios are part of a larger trend that I term studiotization, in which all sorts of physical spaces—commercial, public, and domestic—have been reconfigured to be more camera-ready and “Instagrammable” in the age of social media. In this thesis, I draw on critical media industry studies scholarship and use mixed methods to take four different approaches to the selfie studio phenomenon and its overlapping production cultures. First, I trace a genealogy of selfie studios’ historical antecedents by exploring similar enterprises that have focused on providing customers with an experience of photography and/or media production, including photo booths and in-mall recording studios. In the second chapter, I draw on interviews with selfie studio owners to examine these businesses’ unique position at the intersection of brick-and-mortar retail and the digital economy. Next, I describe the selfie studio experience, using interviews with customers to consider their production process from selecting the right outfit to utilizing ring lights and other equipment to editing and posting photos after the visit. In the fourth chapter, I argue that selfie studio sets serve as material templates for social media content creation by considering how their aesthetic, spatial, and thematic attributes structure and facilitate customers’ creativity.