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Se as desigualdades se fazem presentes no acesso e no uso das tecnologias digitais de comunicação, elas parecem ressoar também no âmbito das representações visuais digitais, que deixam ver vidas e corpos femininos nas textualidades online que circulam cotidianamente. Nesse lugar, a fotografia e, especialmente, a prática do autorretrato compartilhado em rede têm papéis importantes na gestão de autovisualidades contemporâneas. Procuramos apresentar o selfie e o nude como formas atuais do autorretrato vernacular, e localizar sua importância e uso na disseminação de visualidades femininas em ambientes online. Concluímos, ao fim do texto, que os aspectos característicos do selfie enquanto gênero fotográfico e midiático, facilitam a apresentação de si, central para a enunciação de visualidades marginais.

A epidemia do selfie no século 21 pode ser apenas a continuidade, potencializada por uma tecnologia nova, de movimentos humanos presentes desde a Antiguidade. Gestos arcaicos considerados tanto no âmbito do desejo de expressar a identidade do autor de imagens diversas (como são os casos das mãos impressas em paredes de cavernas por autores de pinturas rupestres), quanto no repertório propriamente da gestualidade humana expressiva de emoções. Este é o caso dos gestos de expressão do pathos vitorioso, por exemplo, como definiu o pensador alemão Aby Warburg (1866-1929) na transição do século 19 para o 20. Warburg dedicou-se a detectar a presença continuada de elementos da cultura antiga nos tempos posteriores, nos jogos infantis, nos mitos renovados, na composição pelos artistas do Renascimento de obras que usam imagens idênticas a outras, tantas gregas ou romanas, entre outras formas de manifestação que ele denominou Nachleben der Antike ou vitalidade das formas antigas. O conceito de Warburg parece encarnar-se no gestual da pessoa contemporânea que faz um selfie quando se vê a antiga estátua de Apolo, no Museu do Louvre, em que ele parece produzir um selfie depois de alcançar a vitória sobre a serpente Píton.. Warburg também inspira perguntas, como a que dá título a este texto: Será o selfie um Nachleben? Será que o movimento que fazemos para produzir uma autofotografia digital é uma manifestação da presença continuada de um gesto ancestral?

“The Selfie Culture,” practiced globally, is gaining popularity with each passing day. Owing to its ubiquitous fame across the globe, it becomes essential to inquire the grounds for such worldwide recognition. In few years, it also became the center of attraction among researchers and previous studies had recognized two important aspects of selfie: first, why is selfie posting on social media is increasing day by day and second, who choose to involve more frequently in selfie posting behavior on social media? However, these studies focused only on its online popularity on various social media platforms but did not pay much attention on its offline popularity among selfie takers. In addition to this, the multifaceted sides of selfie which may make it different from other pictures and might also play an important role in its popularity in both offline and online platforms remained unexplored. The present study addressed this gap and explored two important aspects of selfie related behavior, First, it emphasized the significance of understanding the user's conception of selfie and second, it explored the determining factors behind both offline (taking) and online (posting) modes of the practice. 60 college going students (44 females and 16 males) living in Delhi, India participated in the study. Semi-structured interviews were conducted and qualitative thematic analysis was used to cull out the themes. The results showed five factors (looks good, keeping memories, mood driven, mirroring the self and posting on social media) behind selfie offline (taking) involvement. Further, the online (posting) selfie popularity had been driven by three factors (social approval, being the best among the rest, to maintain online presence). Participants' popularity of selfie usage in both offline and online modes advocates the need to explore the offline selfie involvement of selfie takers in future research. The study also extended the existing conceptualization of selfie phenomenon which could help to unravel its wide popularity among its users.

A chamada ‘Pós-Fotografia’ é um conceito desenvolvido por Fontcuberta (2011, 2012) para o entendimento dos fenômenos visuais da era digital, incluindo o gênero selfie, tanto na sua produção quanto em seu uso. Entretanto, nem sempre é possível identificar no resultado uma intenção de questionar os limites da significação fotográfica, e o que desponta é uma obsessão psicológica pela selfie. Assim, a ‘pós-fotografia’ parece ser um termo delegado apenas à arte fotográfica, e não à fotografia amadora.

Selfie-taking and posting is one of the most popular activities among teenagers, an important part of online self-presentation that is related to identity issues and peer relations. The scholarly literature emphasizes different yet conflicting motivations for selfie-behavior, stressing deeper analysis of psychological factors and the influence of gender and age. Expectancies are “explanatory device[s]” that can help us study adolescent behavior. However, no instruments have been devised that specifically explore the expectations teenagers have about selfies and their influence on selfie-frequency. The current study proposes a short and reliable instrument to identify teen expectancies about selfie-behavior. This instrument was validated using a sample of 646 Italian adolescents (14 to 19 years old) by means of Exploratory Factor Analysis (EFA) and Confirmatory Factor Analysis (CFA). We also explore the relationship between selfie expectancies and selfie-frequency, as well as the role of gender in shaping selfies. Our results point toward a 7-factor model that characterizes expectations toward selfies as a multi-dimensional construct linked to both positive and negative perceptions of the nature and consequences of selfies. The overall model fitted the data sufficiently (χ2 = 5067.051, p 0.0000; CFI = 0.962; TLI = 0.954; RMSEA ≤ 0.05: 0.035; SRMR = 0.046), showing an adequate reliability of the scale (α = 0.830). Bivariate correlations between selfie expectancies and selfie-frequency (r = 0.338, p < 0.001) confirmed the convergent validity of the tool. Selfie-sharing is a common practice that is widespread among the participants in this study. Self-promotion represents a positive function of selfies. Selfies promote self-presentation and self-confidence, both in boys and girls. Moreover, selfie expectancies address sexual self-attractiveness, especially among boys. Despite the positive aspects of selfies, our results stress adolescent awareness of the negative consequences of this type of web-exposure. This is especially true among girls, whose selfie-behavior is, paradoxically, more frequent than boys. Self-management through selfie-posting is a positive outcome of selfie-behavior that plays a key role among adolescents, even though the dangers of manipulating selfies in order to garner approval from one’s peers need to be considered. The positive psychometric properties of the measure point toward the need for further research on both generalized and specific selfie-behaviors.

This article undertakes an archaeological approach of comparison between two media practices: the postcard and the selfie. It specifically focuses on travel selfies and tourist postcards, two image practices that declare "I was here!" and "I wish you were here too" by a construction, staging, and performance of presence. In our exploration of the similarities and differences between the two practices, it will be necessary to identify how subjects share themselves, how they manage to convey a presence-effect through media. We will also question the vectorization of this presence: who is present for whom? The concepts of heterotopia and hypertopia as defined by Francesco Casetti will enable us to offer an explanation for the widespread criticism of selfies as narcissistic.

L’usage des surfaces de regard, de consommation et d’activation des contenus audiovisuels et numériques suscite une très grande réflexivité discursive sur le phénomène de « la société des écrans ». La réflexivité porte avant tout sur les effets cognitifs postulés (perte de l’attention, zapping), le domaine métapsychologique (« narcissisme », « paranoïa », « schize ») et comportemental (addiction notamment). Face à ces métadiscours, nous proposons une hypothèse théorique et méthodologique sous le nom d’« écran-analyse » ou plutôt d’« écranalyse », comme mode principal d’appréhension du développement de ce champ de réflexivité bio-sociale des pratiques. Pour faire ressortir cette forme amplifiée de réflexivité embarquée et de critique du « soi » numérique, nous nous appuierons sur l’analyse de deux objets empiriques diversifiés : le phénomène du « selfie » en général et le clip de la chanson Carmen de Stromae.

In this article, we examine the selfie-taking and sharing practices of Muslim pilgrims in Mecca, Saudi Arabia. We introduce the concept of the “holy selfie” (a selfie taken during either theHajj or the Umrah pilgrimages) and report on a visual content analysis of a sample of 100 holy selfies publicly available on social networking platforms. We seek to reach an understanding of the work that holy selfies do in the context of the expressions of spiritual and religious identity of those producing them. Our findings suggest that the embodied experience of pilgrims at the holy sites finds an expressive release through holy selfies, with many pilgrims viewing selfie-taking as an important part of their journey. The selfies (and associated features) capture and document pilgrims’ experiences, contribute to their meaning-making, enable the sharing of memories with loved ones, and attract online followers. Our study provides a picture of how holy selfies blur the gender line (as many males as females take them), emerge despite the opposition of Saudi authorities, and serve as a means of engaging with a multiplicity of audiences. We seek to start a conceptual and methodological conversation about this emerging phenomenon of identity construction involving the use of new media along with the construction of affiliative identities among geographically dispersed communities of Muslim pilgrims. The taking of holy selfies can thus be read as a tactic used by 21st-century Muslims to create opportunities for self-representation and community building in a context of increasing Islamophobia.

Expanding propositions of Souza Júnior (2015c), the present paper analyses the propagation patterns of media/linguistic practices, encapsulated in selfies, which the Brazilian Electoral Justice termed a ‘forbidden act’ – whenever selfies were to be taken inside voting booths and/or posted online from there, during the 2014 Brazilian elections. Suggesting a bottom-up Linguistics and social-semiotics-oriented analysis, seeking to expand the investigative limits of a pictorial and Communication-oriented analysis presented in Shifman (2014), the paper, firstly, examined the selfie post that originated the digital event #selfienaurna (i.e. selfie in the voting booth). Secondly, the article defined that post’s initial compositional pattern in terms of: a) multimodal construction (its visual syntax); b) multimodal proposition (the purpose the purpose expressed through that picture). Then, the methodology of “propagatory analysis” (SOUZA JÚNIOR, 2014) was used to confront the initial pattern with other occurrences found in the corpus. Carrying out a “relational analysis” (SOUZA JÚNIOR, 2015a), this study investigated how the pattern that generated #selfienaurna would evolve, namely: mostly homogeneously – positioning found in Dawkins (1979, 1982); and followed by Recuero (2006) – or heterogeneously - proposition presented in Dennett (1995); and corroborated in Souza Júnior (2014, 2015a). Results showed that the propagation of #selfienaurna evolved mostly heterogeneously, regarding the items investigated.

This is an essay about power and faces. Specifically, it about the faces that manifest in the global self-imaging practice referred to as “selfie culture.” More specifically still, it is about circulation of selfies featuring the face of Sandra Bland, an African American activist with the group Black Lives Matter, who police claim hung herself in a cell after being imprisoned after a routine traffic stop.

Alice’s becoming, as becoming simultaneously larger and smaller, provides the oppor tunity to diagnose the present through a phenomenon more “current” than ever: Tiqqun’s “Jeune Fille” (young girl), which today is amplified by social networks. At the same time, Alice’s becoming indicates a political strategy that is rigorously untimely, which means inclined to find singular virtualities that escape the chronology of the commodification of the time of existence. Following Deleuze’s Logic of Sense, but also projecting it onto the present (hence in actualizing it), the commodification of existence occurs first in chronological time, which is why one says, “time is money”. This is the time of consumption, time that literally consumes itself, but it is also the time in which we consume and consume ourselves.

Selfies tornaram-se alvo de proibição nas cabinas de votação por parte da Justiça Eleitoral brasileira, a partir da eleição de 2014. Mesmo diante da referida proibição judicial, tais imagens e suas postagens, que vêm sendo percebidas como modos de proceder socialmente cada vez mais frequentes na contemporaneidade, foram propagadas através do evento digital “#selfienaurna”, a partir da rede social Tumblr.com. No contexto de proibição relatado, as postagens de selfie podem trazer à tona implicações legais a quem as propaga, e, ao mesmo tempo, por consequência, socialmente “contestar” (no sentido de Fairclough, 2003) a prerrogativa do princípio de livre escolha (anterior ou posterior), atrelada ao ato de votar e defendida pelas autoridades eleitorais brasileiras. Fazendo uso do Modelo Tridimensional de Análise (FAIRCLOUGH, 2003), pretendemos investigar se, no contexto e processo de propagação mencionados, os internautas/eleitores assumem/acatam o discurso de criminalização dos selfies ou, por outro lado, contestam-no.

Introduction Selfies are most commonly posted on social media, where their popularity has led to intensified awareness by the subjects of their appearance. This, led to higher demand for cosmetic procedures, intending to enhance how the subject appears in future selfies. Aim This study aims to evaluate the influence of high expectations and selfie photographs on satisfaction level results of facial plastic surgery in Eastern Province, Saudi Arabia. Subject and methods This cross-sectional study was conducted among Eastern Province residents of Saudi Arabia. A self-administered questionnaire was sent to the residents using an online survey. The questionnaire included demographic characteristics (i.e., age, gender, nationality, etc.) and specific questions regarding the influence of selfie photographs and high expectations on the satisfaction rates among patients who had facial plastic surgery. Results Of the 192 participants, 79.2% were females, and 44.8% were aged between 18 to 30 years old. The most commonly sought cosmetic surgery was rhinoplasty (38.5%). 71.4% were taking selfies, while 39.1% perceived better expectations with plastic surgery. High expectations with plastic surgery were more prevalent in older and married participants. It is important to note that an increased satisfaction rate after cosmetic procedures was more associated with high expectations of plastic surgery. Conclusion High expectations directly influence satisfaction with appearance after the cosmetic procedure, but taking selfies does not. Respondents of older age and who were married demonstrated better expectations of plastic surgery compared to the rest of the groups. More investigations are required to confirm the relationship between expectation and taking selfies in terms of satisfaction with self-appearance after cosmetic surgery., Competing Interests: The authors have declared that no competing interests exist., (Copyright © 2023, Abaalkhail et al.)

Social sharing networks put forward a completely new method through which individuals present and represent themselves. Those virtual tools help a new field of study and interest to emerge in terms of the analysis of personality and identity. In traditional sense, personal portrait, in other words, passport photo has evolved into "selfie (self-image) as new action of taking photos thanks to the development of digital technologies. Disseminating on social media instruments, selfie is more than a simple photo; it is rather a manifestation of an expression, identity and attitude. Social media, which is another dimension of individuals' actions to express and realize themselves, in terms of taking selfies, is also a new dimension of individuals' behaviour to exhibit themselves. This situation displays variations among age groups that are also called "generations". This study researches into the relationship between participants' attitudes of taking selfies and their narcissistic tendencies by using statistical methods. The findings of the study consist of two parts in which participants voluntarily answered related questions on an online survey tool. The first part is about a total of randomly selected 574 participants' attitudes of taking selfies. The second part is about Narcissistic Personality Inventory (known as NKE-16). The study results show that participants who share selfies they took are actually doing this to attract attention and raise interest as a part of narcissistic behaviour. The results were also discussed in the final part of the study. [ABSTRACT FROM AUTHOR]

Selfie photography from the hand-held camera is becoming a popular media type. Although being convenient and flexible, it suffers from low camera motion stability, small field of view, and limited background content. These limitations can annoy users, especially, when touring a place of interest and taking selfie videos. In this paper, we present a novel method to create what we call a BiggerSelfie that deals with these shortcomings. Using a video of the environment that has partial content overlap with the selfie video, we stitch plausible frames selected from the environment video to the original selfie frames and stabilize the composed video content with a portrait-preserving constraint. Using the proposed method, one can easily obtain a stable selfie video with expanded background content by merely capturing some background shots. We show various results and several evaluations to demonstrate the applicability of our method. [ABSTRACT FROM AUTHOR]

The aim of the study was to examine the associations between selfie behavior, selfie motivation, narcistic traits and self-esteem. Two surveys were developed for this study: Selfie Behaviour Survey and Selfie Motivation Scale. Measures of narcisstic personality traits and self-esteem were completed as well. Two hundred and two participants (87,1% female), aged 18 to 57 years (M = 28,08), participated in the study. The results of the study showed that various motives were related wit-h selfie behavior: selfie frequency was more closely related to the entertaining, attracting attention and archiving motivation. Narcissism personality trait ratings showed positive relationship with attention seeking and entertainment motivation. Higher self-esteem ratings were associated with attributing less importance to the opinions of others in regard to selfies published on social networks, as well as a more frequent use of selfies for communication purposes. The results indicate that selfie behavior is a heterogeneous phenomenon which allows different individuals to meet different needs. [ABSTRACT FROM AUTHOR]

This study examined the relationship between dimensions of narcissism and selfie posting/sending frequency and other self-promoting behaviors on social media. Participants ( N  = 124) completed an online survey of narcissistic traits and social media use. Global narcissism was significantly correlated with numerous social media behaviors, including frequency of selfie posting, perceived attractiveness of selfies, tag/comment/like behaviors, as well as variables specific to individual social media platforms. Among narcissism dimensions, Grandiose Exhibitionism exhibited the most consistent association with social media behaviors. The Leadership/Authority dimension generally demonstrated the weakest correlations with selfie posting/sending frequency and other social media behaviors. Additionally, PROCESS analyses revealed that traits reflecting global narcissism, Grandiose Exhibitionism, and Entitlement/Exploitativeness were associated with selfie posting/sending frequency through a motivation for others to show interest and admiration. Implications for this research and future directions are discussed. [ABSTRACT FROM AUTHOR]

Selfies, self-taken photographs using mobile phones or tablet computers, have become a way of life. People are now sending selfies to health professionals for medical advice or dermatology triage or postoperative wound assessment. These selfies may be unsolicited and sent to clinicians with whom the patient may or may not have a prior doctor-patient relationship or on the instruction of the attending doctor or even to social media groups. They may be sent by email, or by mobile phone and instant messaging applications, or sent to Websites, or telemedicine specific application sites. These photographs and accompanying information are legal documents, should form part of the patient’s record, and should be securely transmitted and stored to maintain patient confidentiality and privacy. This paper reviews the legal, ethical and regulatory issues associated with the different forms of selfie telemedicine. Method: A scoping literature review was undertaken using PubMed, Scopus, Science Direct, Ebsco Host and Google Scholar which were searched for Selfie and any of medicine, telemedicine, telehealth, eHealth, or mHealth. Inclusion criteria were that the paper was in English and described the use of a selfie in relation to healthcare. These were then reviewed for reference to legal, ethical issues and regulatory issues. Results: 68 papers met the inclusion criteria. Legal and ethical issues identified were consent, confidentiality, privacy, the doctor-patient relationship, data security, responsibility, record keeping, licensure, continuity of care, quality of care, image quality, concordance, phone stewardship and patient satisfaction. Conclusion: The literature provides little guidance on how legal and ethical issues and shortcomings of selfie telemedicine should be addressed especially the responsibilities of the patient and physician for unsolicited requests. Nor does it provide advice on how records are to be kept, or how images and information stored and sent to and from mobile phones or computers are to be managed. The new issues that arise need to be addressed. [ABSTRACT FROM AUTHOR]

Copyright of Nomadas (01217550) is the property of Universidad Central and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is inspired by mixed methodology techniques that deepen and extend upon a long-standing tradition of archiving the quotidian experiences of ordinary South Africans through empirical research. By tapping into popular imaginaries and the liberatory potential of young women's use of social media and performance of embodied subjectivities in the post-apartheid imaginary, everyday interactions on Facebook, WhatsApp and Instagram are incorporated to demonstrate a shared on-line social space for attention to body politics. The article integrates abstract (feminist) theory in practical ways by utilising creative and visual methodologies strategically to reveal young women who are participants with political questions about liberation, independence and social belonging. Here “body-talk” can be theorised as an action of resistance mediated by the visceral, affective, sentimental and sensual expressions of femininity. The article focuses on various visual and textual ways in which young women in Cape Town make sense of their social identities, understandings of freedom and potential as social actors. The contemporary multicultural democracy encompasses the spirit of an imagined community in which an unravelling or untidiness of difference in terms of race, sex, class and sexuality open up spaces for conversation around meanings of bodyhood. The entanglement of femininity, affect and body politics with social identities are not separable from young women's search for citizenship and social belonging. This search surfaces in the need to share experiences about what constitutes the everyday experience of a young woman's existence, and strategies of self-expression. Ultimately, “body-talk” is shown to inform practical wisdom about the everyday but more importantly, engages progressive social change and new forms of thinking around the “knowing subject” and young women as knowledge producers about themselves and their bodies. [ABSTRACT FROM AUTHOR]

“The Selfie Culture,” practiced globally, is gaining popularity with each passing day. Owing to its ubiquitous fame across the globe, it becomes essential to inquire the grounds for such worldwide recognition. In few years, it also became the center of attraction among researchers and previous studies had recognized two important aspects of selfie: first, why is selfie posting on social media is increasing day by day and second, who choose to involve more frequently in selfie posting behavior on social media? However, these studies focused only on its online popularity on various social media platforms but did not pay much attention on its offline popularity among selfie takers. In addition to this, the multifaceted sides of selfie which may make it different from other pictures and might also play an important role in its popularity in both offline and online platforms remained unexplored. The present study addressed this gap and explored two important aspects of selfie related behavior, First, it emphasized the significance of understanding the user's conception of selfie and second, it explored the determining factors behind both offline (taking) and online (posting) modes of the practice. 60 college going students (44 females and 16 males) living in Delhi, India participated in the study. Semi-structured interviews were conducted and qualitative thematic analysis was used to cull out the themes. The results showed five factors (looks good, keeping memories, mood driven, mirroring the self and posting on social media) behind selfie offline (taking) involvement. Further, the online (posting) selfie popularity had been driven by three factors (social approval, being the best among the rest, to maintain online presence). Participants' popularity of selfie usage in both offline and online modes advocates the need to explore the offline selfie involvement of selfie takers in future research. The study also extended the existing conceptualization of selfie phenomenon which could help to unravel its wide popularity among its users. [ABSTRACT FROM AUTHOR]

Abstract Selfies are omnipresent, yet quantitative research on the topic is sparse. Selfies are a form of self-expression; but selfie-taking also shapes the selfie-taker's self. We argue that taking selfies in a place strengthens selfie-takers’ identification with that place. In three experimental studies (two-group post-test comparison design), the control group took pictures of a place (Studies 1 & 2: university; Study 3: city), whereas the experimental group took selfies in that place. Place identification was higher in the selfie condition than in the control condition (Study 1). Task enjoyment moderated the effect of taking selfies on place identification (Studies 2 & 3). However, not all sub-dimensions (i.e., affective, cognitive, and conative) of place identification were equally affected by the selfie-task across contexts. Our results suggest that taking selfies in a place can strengthen the linkage between selfie-takers and places. The effect can reverse for individuals who do not enjoy taking selfies. Highlights • Taking selfies in a specific place influences a person's place identification. • This effect is positive for individuals who enjoy taking selfies. • The effect can reverse for individuals who do not enjoy taking selfies. • The effect was replicated in closed (university) and open space (city) settings. • In diverse contexts, selfie-taking affects different place identification aspects. [ABSTRACT FROM AUTHOR]

Background: Selfie deaths have become an emerging problem and we performed this study to assess the epidemiology of selfie-related deaths across the globe. Subject and Methods: We performed a comprehensive search for keywords such as “selfie deaths; selfie accidents; selfie mortality; self photography deaths; koolfie deaths; mobile death/accidents” from news reports to gather information regarding selfie deaths. Results: From October 2011 to November 2017, there have been 259 deaths while clicking selfies in 137 incidents. The mean age was 22.94 years. About 72.5% of the total deaths occurred in males and 27.5% in females. The highest number of incidents and selfie-deaths has been reported in India followed by Russia, United States, and Pakistan. Drowning, transport, and fall form the topmost reasons for deaths caused by selfies. We also classified reasons for deaths due to selfie as risky behavior or non-risky behavior. Risky behavior caused more deaths and incidents due to selfies than non-risky behavior. The number of deaths in females is less due to risky behavior than non-risky behavior while it is approximately three times in males. Conclusion: “No selfie zones” areas should be declared across tourist areas especially places such as water bodies, mountain peaks, and over tall buildings to decrease the incidence of selfie-related deaths. [ABSTRACT FROM AUTHOR]

Dr. Ana Peraica was born into a family of photographers. Her grandfather, as well as her father after him, run a family photo studio Atelier Perajica on the main square of Diocletian's palace in Split, Croatia. The studio went into Ana's hands, and she still works there herself today. Besides running the business, her main focus is photographic theory, more precise the field of contemporary arts, visual culture studies and media theory. It is very thought-provoking to see how her background and studio practice influenced her research and vice versa. In her writings she focuses on networked society, strategies of anonymity and pseudonymity, parallel hyper-narratives etc. She currently works on her new book Postdigital Arcadia in which she focuses on changes in the post digital photography (eg. aerial images and 360 images), and reflects upon the changes brought about by new visual language on our perception of reality. We spoke also about her last published book The Culture of the Selfie, an important survey on this particular contemporary phenomenon. [ABSTRACT FROM AUTHOR]

Copyright of Balkan & Near Eastern Journal of Social Sciences (BNEJSS) is the property of Balkan & Near Eastern Journal of Social Sciences (BNEJSS) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nexus (1900-9909) is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer's body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork. [ABSTRACT FROM AUTHOR]

Social media may provide new opportunities to promote skin cancer prevention, but research to understand this potential is needed. In April of 2015, Kentucky native Tawny Willoughby (TW) shared a graphic skin cancer selfie on Facebook that subsequently went viral. We examined the volume of comments and shares of her original Facebook post; news volume of skin cancer from Google News; and search volume for skin cancer Google queries. We compared these latter metrics after TWs announcement against expected volumes based on forecasts of historical trends. TWs skin cancer story was picked up by the media on May 11, 2015 after the social media post had been shared approximately 50,000 times. All search queries for skin cancer increased 162% (95% CI 102 to 320) and 155% (95% CI 107 to 353) on May 13th and 14th, when news about TW's skin cancer selfie was at its peak, and remained higher through May 17th. Google searches about skin cancer prevention and tanning were also significantly higher than expected volumes. In practical terms, searches reached near-record levels - i.e., May 13th, 14th and 15th were respectively the 6th, 8th, and 40th most searched days for skin cancer since January 1, 2004 when Google began tracking searches. We conclude that an ordinary person's social media post caught the public's imagination and led to significant increases in public engagement with skin cancer prevention. Digital surveillance methods can rapidly detect these events in near real time, allowing public health practitioners to engage and potentially elevate positive effects. [ABSTRACT FROM AUTHOR]

Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, 'selfie'. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image ('the Culture of Narcissism'), or is it rather a form of interaction with heritage, of a dialogue with the presented contents ('remix culture')? [ABSTRACT FROM AUTHOR]

As an iconic image of our time, the selfie has attracted much attention in popular media and scholarly writing. The focus so far has been on the representation of the self or subjectivity. We propose a complementary perspective that foregrounds the intersubjective function of the selfie. We argue that the presence of selfhood is often an assumption. What distinguishes the selfie from other photographic genres is its ability to enact intersubjectivity -- the possibility for difference of perspectives to be created and this difference to be shared between the image creator and the viewer. Based on a social semiotic analysis of selfies on Instagram, we identify four subtypes of selfie, each deploying a combination of visual resources to represent a distinct form of intersubjectivity. Our analysis suggests that the potential for empowerment is inherent in the visual structure of the selfie, and that, as a genre, it is open for recontextualisation across contexts and social media platforms. [ABSTRACT FROM AUTHOR]

We manipulate the information subjects can share on the web concerning socially sensitive actions (public good contribution) and visibility (selfie) to determine the effect on social image, as captured by the price subjects demand for publication. Our novel design incorporates aspects of social media interaction including limited anonymity and the possibility to manipulate published information in retrospect, which involves a controled decision-making process. The overall conclusion from the experiment is that theory about social reputation can predict subjects’ social-signaling behavior. People take costly decisions to curate their social image online. We also report results of a more exploratory nature and find that taking a selfie has a strong negative impact on cooperation among frequent selfie takers, but not on other subjects. [ABSTRACT FROM AUTHOR]

Little research has examined image-editing behaviour on social media, yet with images being a key form of online social communication, the importance of such research is evident. The aim of the current study was to examine the factors that influence peoples’ intentions to post digitally altered self-images on the Facebook platform, using an extended Theory of Planned Behaviour (TPB) model. It was hypothesised that after controlling for age, prior editing application use, and integration of Facebook in a user’s life, the TPB variables (attitudes, subjective norms, and perceived behavioural control [PBC]) would explain a significant proportion of intention to post digitally altered images on Facebook. Furthermore, that the addition of narcissism would explain further variation in intentions, beyond that explained by the control and TPB variables. Participants ( N  = 151; M age  = 25.6 years; 76% female) completed an online survey assessing each of the aforementioned variables. Hierarchical multiple regression revealed that each of the hypotheses were supported, with all variables significantly contributing to the prediction of intentions, except PBC and age. This study sheds light on the predictors of image-editing behaviour, and sets the stage for subsequent research examining editing behaviours on Facebook as well as other social media platforms (e.g. Instagram). [ABSTRACT FROM AUTHOR]

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Copyright of Turkish Journal of Trauma & Emergency Surgery / Ulusal Travma ve Acil Cerrahi Dergisi is the property of KARE Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article draws on the case of #mysafetyselfie as an example of how social media can be used to highlight the social and spatial factors affecting women's experience with safety. In particular, I consider the ways in which media technology mediates embodied practice through an examination of the selfie as a form of relational place making. In the first section, I situate #mysafetyselfie as a node along a continuum of sociospatial work by Jay Pitter—the project's initiator—stemming from her personal and professional engagement with safety. I then draw from mobile interface theory to argue for the selfie as a practice of embodied implacement, which situates experience as contextually informed. In the next section, I conduct a close reading of three safety selfies from the project, in which safety is framed by the subject in intelligent and creative ways. I conclude by reflecting on the outcomes of #mysafetyselfie and the ethical responsibility of curating stories both offline and online. [ABSTRACT FROM AUTHOR]

Enabled by the speed and ease of mobile technologies, and by the ubiquity of camera phone photography, first-person and visual forms of travel narration have become a significant mode of travel writing in the twenty-first century. Such narratives offer an almost limitless (albeit fragile) archive of travel information with a very broad reach. Numerous practices, including simple photo sharing or photo diaries or the serialised “selfie”, locate and show the author-self moving, locating, living, and playing in everyday and extraordinary spaces. This essay argues that “the selfie” is a new mode of travel narrative practice that deserves further attention in terms of how it functions within the travel writing genre. In our analysis, we return to long-standing debates over conventional definitions of “tourist” and “traveller” (Thompson 2011; Youngs 2013) and we engage in post-colonial and trauma scholarship as well as theories of life writing to discuss the ANZAC Cove selfie as it illuminates some of the complex issues and contexts that surround and characterise the selfie as travel writing. [ABSTRACT FROM AUTHOR]

This article presents a critical multimodal discourse analysis of how people make meaning through the semiotic practice of shooting digital self-portraits (selfies), adding captions and then sharing these texts on the social network site Instagram. Combining theories from social semiotics, critical discourse analysis and multimodal discourse analysis, the analysis focuses on the embedded ideological meaning in such digital communication. The analysis explores a data corpus of 100 selfies shared on Instagram. Despite the fact that digital texts shared on social media are generally regarded as personal communication, selfie makers seem to reproduce features of a commercial and global discourse. The typical way of representing oneself on Instagram appears to be surprisingly similar to visual representations in advertisements and image banks. The linguistic resources in use also appear globalized through a mix of languages combined with slang and abbreviations. [ABSTRACT FROM AUTHOR]

The so-called 'Post-Photography' is a concept developed by Fontcuberta (2011, 2012) for understanding the visual phenomena of the digital era, including the 'Selfie' genre, both in its production and in its use. However, it is not always possible to identify in the result of this genre a deliberate intention to question the limits of photographic meaning. Thus, the Selfie's analysis seems to have greater affinity with a psychic reason than with a possible theory of communication, its particular characteristics being the result of psychological intentions. From this approach, the present work will analyze the phenomenon based on Jungian psychology, which we believe offers ontological tools for the understanding of the phenomenon in its intrinsic reason: us. [ABSTRACT FROM AUTHOR]

Background: The recent and rapidly popularized social phenomenon of selfie taking has been showing an increasing trend. It is thus imperative to assess the knowledge, attitude, and perception of the groups toward this phenomenon. Selfie taking is associated with younger age groups and hence, we aimed to explore the attitudes toward selfie taking and its relation toward body image and narcissism in medical college students. Methodology: This was cross-sectional study and had two groups with Group A comprising 92 first year medical students and Group B including 103 postgraduate (PG) medical students from various specialties. They were interviewed in a single session using the scale of attitude toward selfie-taking questionnaire, Body Image Acceptance and Action Questionnaire (BIAAQ), and the narcissistic personality inventory. Scores obtained were computed using basic descriptive statistics and t-test where appropriate. Results: A strong positive favorable trend toward selfie taking was noticed among both groups (A = 56.5%, B = 45.6%). There was no difference in attitude between the two groups, or difference in the gender between those clicking their own selfies regularly within each group. BIAAQ reflected a significant difference among male subjects of the two groups with PG students was more concerned about body image (P = 0.001), whereas female subjects of both groups showed no such difference. The narcissism traits also showed a significant difference, only when males of both groups were compared again in favor of PG medical students (P = 0.022). Conclusion: This study revealed that selfie-taking is popular among medical students both in their undergraduate and PG period. Further research in diverse clinical and nonclinical populations is warranted to explore the relation between this phenomenon and body image acceptance or narcissistic traits. [ABSTRACT FROM AUTHOR]