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

The "selfie" phenomenon shaped the past two decades, yet there is inconsistent evidence concerning the relationship between selfie behaviors and self-evaluations. This meta-analysis investigates the relationship between selfie taking, editing, and posting behavior and general and appearance-specific self-evaluations. The results reveal that selfie taking and posting are related to positive appearance-specific self-evaluations. In contrast, selfie editing is related to negative self-evaluations both generally and specific to appearance. Gender and age did not moderate these relationships, but methodological factors did, suggesting these relationships depend on factors, such as how selfie behaviors are measured and study design. We interpret these findings through the lens of prominent social psychological theories and conclude with suggestions to guide future research. [ABSTRACT FROM AUTHOR]

AbstractTo fully exploit the potential of digital technologies for preventing exclusion in education and fostering accessible and inclusive learning environments, particularly for vulnerable students, schools need to identify context-specific needs for the systematic integration of digital technologies into daily teaching and learning practices. Therefore, this article presents comparative findings from an online survey conducted in 21 inclusive schools (primary and lower secondary level) in four European countries (Austria, Bosnia and Herzegovina, Italy, North Macedonia). Using the SELFIE tool developed by the EU Commission, school leaders and teachers self-evaluated their school’s digital capacity in different areas. The results, encompassing both inter- and intraschool analyses, revealed several areas requiring attention within the participating countries to align with the global push for inclusive digital education reforms. [ABSTRACT FROM AUTHOR]

In recent years taking selfies and posting them on social media has become a social, cultural phenomenon globally. But this behaviour can be detrimental to a person's mental health, if they are regularly indulging in it. In this study we estimated the prevalence of selfitis and investigated its relationship with self-esteem, appearance anxiety and narcissistic personality trait among 403 students of a medical college in south India, using a cross-sectional study design. Standardised tools such as Selfitis Behaviour Scale, Rosenberg Self-Esteem Scale, Appearance Anxiety Inventory and Narcissistic Personality Inventory-16 were used to collect data and Pearson's correlation coefficient was utilised to investigate relationship between the study variables. The prevalence of selfitis was found to be 68.4%, with 51.1% having borderline, 16.13% acute, 1.24% chronic-selfitis. A mild positive correlation was found between selfitis and appearance anxiety (r = 0.376). This could be due to the need to seek approval and reassurance about their appearance through increased engagement with selfie-taking behaviour. Also, since the majority of students had features of selfitis (borderline, acute and chronic), they would be spending a large part of each day taking selfies and uploading them on social media. This could interfere with their academic performance and also impede social interactions. We recommend that adolescents need to be educated about the consequences of indulging in excessive selfie-taking behaviour and its negative impact on their perceived self-image. [ABSTRACT FROM AUTHOR]

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow 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.)

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

In recent years taking selfies and posting them on social media has become a social, cultural phenomenon globally. But this behaviour can be detrimental to a person’s mental health, if they are regularly indulging in it. In this study we estimated the prevalence of selfitis and investigated its relationship with self-esteem, appearance anxiety and narcissistic personality trait among 403 students of a medical college in south India, using a cross-sectional study design. Standardised tools such as Selfitis Behaviour Scale, Rosenberg Self-Esteem Scale, Appearance Anxiety Inventory and Narcissistic Personality Inventory-16 were used to collect data and Pearson's correlation coefficient was utilised to investigate relationship between the study variables. The prevalence of selfitis was found to be 68.4%, with 51.1% having borderline, 16.13% acute, 1.24% chronic-selfitis. A mild positive correlation was found between selfitis and appearance anxiety (r = 0.376). This could be due to the need to seek approval and reassurance about their appearance through increased engagement with selfie-taking behaviour. Also, since the majority of students had features of selfitis (borderline, acute and chronic), they would be spending a large part of each day taking selfies and uploading them on social media. This could interfere with their academic performance and also impede social interactions. We recommend that adolescents need to be educated about the consequences of indulging in excessive selfie-taking behaviour and its negative impact on their perceived self-image.

Este artigo analisa as categorias de autorretrato e selfie para compreender as problemáticas espaço-temporais presentes no pensamento de Mauricio Lissovsky que envolvem a construção da imagem de si. Pela chave da performance, busca-se compreender a historicidade dos autorretratos até o fenômeno das selfies e apontar maneiras diferenciadas por meio das quais os corpos compõem relatos de si, com intencionalidades e sentidos próprios que configuram modos diversos de encarar o espaço e tempo nas experiências fotográficas. Apesar de apresentarem as matrizes do gênero, os autorretratos sélficos trazem especificidades em sua performance, o gesto como modo de instaurar o espaço-tempo fotográfico.

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

‘Selfie’ taking was introduced to the common people by smartphones and has become a common practice across the globe in no time. With technological advancement and the popularity of smartphones, selfie-taking has grown rapidly within a short time. In light of the new trend set by the generation, this study aimed to explore reasons for selfie-taking and selfie-posting on social media and their effects on the social and psychological lives of young adults. A purposive sampling method was adopted to select 20 Indian citizens, between 18 and 24 years. The data were collected through semi-structured interviews and analysed using thematic analysis. Selfie-taking and posting on social media give positive feelings, and it acts as a mood modifier dependent mostly on the favourability and feedback about the post which in turn affects emotions and self-satisfaction. [ABSTRACT FROM AUTHOR]

The current study aimed to explore the Correlation between selfie behaviors and the Big Five Personality Factors in the light of some demographic variables. The comparative descriptive method was used. The sample consisted of (288) female in the Kingdom of Saudi Arabia. Demographic data sheet, selfie behaviors and the scale of the big five personality traits prepared by Al-Ruwaitea (2007) were used. The results of the study showed that younger and single women tend to take more selfies and post them on social media, while divorced women are interested in getting more likes on their selfies. The results also showed that there is a statistically significant positive relationship between neuroticism and using filters/applications to edit images before publishing them, as well as concerning in the number of likes on selfies after publishing them. Extraversion was also positively associated with the frequency of taking group photos and publishing selfies on social media. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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.)

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

Background: Advancements in digital cameras and the advent of smartphones have magnified the importance of clinical photography in facial plastic surgery. Here, we aim to examine the effect of different camera types, focal lengths, and distances from subjects on facial distortion. Methods: Twelve subjects underwent a series of frontal photographs using a smartphone camera and a full‐frame digital single‐lens reflex camera. Photos were captured at six distances from the subject. Seven focal lengths were used at each distance for the full‐frame camera. Measurements of facial landmarks were made for each photo, with those made at 60 inches using the full‐frame camera considered the gold standard and used for comparison. Results: Distortion of facial features using the full‐frame camera occurred when photos were captured 8 inches away using short focal lengths. A 12%–19% increase in vertical stretching of the midface occurred when using focal lengths of 24, 35, and 50 mm (p < 0.05 for all). The same features were distorted when a smartphone camera was used at 8 inches (18% increase, p < 0.01) and 12 inches (12% increase, p < 0.03). Conclusions: Distortion of midfacial features using both smartphones and full‐frame cameras occurs with short, 'selfie' distances between the camera and subject. Level of Evidence: 2 Laryngoscope, 134:1234–1238, 2024 [ABSTRACT FROM AUTHOR]

Social media engagement is becoming a significant part of true-crime fandom, providing spaces for true-crime fans to share their knowledge and obsessions. This article explores the storytelling techniques of the Cult Liter podcast and how the listeners engage with these stories on the associated Instagram account. Rather than engaging with the implications of violent crime, fans of Cult Liter on Instagram instead engage in self-promotion, like seeking behavior and in-group validation. Through analysis of episode 31, Jeffrey Dahmer, and the listener/user interaction on Instagram, this article evaluates how true-crime podcasts and social media relate to each other, echoing Seltzer's "wound culture," as users gather round the Instagram post as they would the scene of a crime. This article argues that social media provides a safe space where fans can indulge their fondness for stories of murder and their self-proclaimed obsession with certain serial killers. [ABSTRACT FROM AUTHOR]

Copyright of Pixel-Bit, Revista de Medios y Educacion is the property of Pixel-Bit, Revista de Medios y Educacion 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 REDER: Revista de Estudios Latinoamericanos sobre Reducción del Riesgo de Desastres is the property of Corporacion Gestion de Riesgos y Desastres (GRID-Chile) 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.)

Imersos no teatro digital, estamos expostos a um contexto em que as imposições sociais são maiores do que nunca. Neste período, em que a esfera digital suplanta largamente as interacções físicas, o rosto ocupa um papel fundamental no corpo-avatar. Sendo o corpo feminino muitas vezes o mais pressionado por estas exigências, transformá-lo por todos os meios disponíveis é uma opção comum. Do filtro à cirurgia, o ser contemporâneo valoriza a perfeição estética acima de tudo. Encontramos diferentes representações deste contexto no trabalho de artistas como Jessica Ledwich, Yolanda Dorda, Laurie Simmons e Cristina Rizzie.

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

Abstract Background What we think we see consists of models constructed in our brains, which may be constrained, limited and perhaps modified at a cerebral level. Patients may view their mirror image differently to how others and the clinical team view them. Understanding potential variations in perception between real and mirror images is important in clinical practice. The aims were to assess differences in self-perception between frontal facial and mirrored photographs, comparing the results with selfie photographs. Methods Facial photographs were taken by one investigator under standardized conditions for preclinical and clinical students. Each student took a selfie photograph at rest and smiling using his/her smartphone. A mirror image was generated for each image. Each student was shown his/her original and mirror image, without being informed which was which. For each pair of images, students were asked to choose which photograph they perceived as more attractive. A set of photographs of a male volunteer was shown to all participants, to choose either the original or mirror image as the more attractive. Results Most observers preferred the true image of the volunteer (P

With the rise of digital technologies, selfies are a contemporary and popular form of digitally produced self-expression for Saudi women. Informed by Goffman’s (1959) self-presentation theory and Hall’s (1966) proxemics theory, this study explores the process of producing and posting selfies on Instagram and Snapchat platforms, and examines how these practices are shaped by cultural norms and platform affordances. Methodologically, an ethnographic approach was employed to observe selfie practices involving: focus groups, face-to-face interviews, online observation, and photo-elicitation interviews. The sample consisted of 35 Saudi women between 18-57 years old. The results were used to develop a framework for understanding selfie production consisting of six processes: the motivation process, pre-photo process, platform affordances process, audience customization process, assessment of cultural norms process, and the process of reposting selfie. Also, the study identified a number of strategies practiced by Saudi women to present a more desirable self, including: digitally editing the selfie using beautifying filters, arranging the background, retaking the selfie, and adding digital makeup. Cultural norms were found to heavily influence selfie practices, as selfie takers carefully select particular audiences with whom to share the selfie, while blocking others from viewing the selfie using “virtual walls” depending on veiling practices, habitual proximity, and the appropriateness of the content. The model and the identified strategies make an important empirical contribution that provides a new way of thinking about selfie practices outside Euromerica.

In this article, I explore how discourses of control, imbued with the logic of postfeminist and neoliberal empowerment rhetoric, are used by young women to recount their experiences of selfie-practices. In doing so, I examine how these accounts complicate popular analyses of the phenomenon as either "empowering" or "disempowering," arguing instead that control discourse reveals a complex entanglement of agency and vulnerability that centres on participants' ability, or lack thereof, to control their image in online environments. This desire for control versus the moments when such control is undermined or compromised produce discursive and visual dissonances which shift formerly positive assessments of one's selfie towards the ambivalent and the self-critical. Thus, I propose that control discourse and its dissonant effects mark a site of return, offering temporary relief from the demands of specular femininity by providing the means to achieve its standards via the selfie, only to return young women to a state of disempowerment when their assessment of their image (and by extension, their embodied selves) sours in response to factors they cannot control. [ABSTRACT FROM AUTHOR]

Introduction: Selfies, a social phenomenon that has recently gained popularity, have been gaining in popularity. Recent studies on "selfitis" (the obsession with snapping selfies) highlighted the potential for addiction, compulsiveness, and obsessive behavior in young people, sparking more scholarly discussion on the dangers of medicalizing everyday behaviors. The present study was carried out to determine selfie taking behavior among first year medical students. Materials and Methods: The study was an institutional cross sectional conducted among first year graduates. Selfitis Behaviour Scale, a six-component scale developed by Balakrishnan & Griffiths, was used to assess selfie-related behavior. Components of the scale are environmental enhancement, social competition, attention-seeking, mood modification, self-confidence, and social conformity. Each item has a different response on a 5-point Likert scale (1 –strongly disagree; 2 –disagree; 3 –neither agree nor disagree; 4 –agree; 5 –strongly agree). The total scores ranged from 20 to 100. The behavior was categorized as normal, borderline, acute, and chronic selfitis with scores ranging from 20 to 39, 40 to 59, 60 to 79, and 80 to 100, respectively. Results: A total of 111 students participated in the study. In the present study, the majority of the students (51.36%) were found to be under normal and scored between 20-39. This was followed by borderline selfitis 50 (45.04%). Two participants scored in the range of 60-79 and were found to have acute selfitis. No student in our study had chronic selfitis. A preponderance of female students was observed under borderline selfitis (n=37) Conclusion: The problem of selfie addiction among medical students has to be addressed. it's critical to spread knowledge about the hazards and potential repercussions of excessive selfietaking. [ABSTRACT FROM AUTHOR]

This study addresses the question to which extent individual online self-presentations become more similar globally, due globalisation and digitalisation, or whether ethno-racial identity predisposes individuals' online self-presentation. That is, we examined the degree to which individuals varying in ethno-racial identity converge or diverge in online self-presentation. A large-scale content analysis was conducted by collecting selfies on Instagram (i.e. #selfietime; N = 3881). Using facial recognition software, selfies were allotted into a specific ethno-racial identity based on race/ethnicity-related appearance features (e.g. Asian, Black, Hispanic, and White identity) as a proxy for externally imposed ethno-racial identity. Results provided some evidence for convergence in online self-construction among selfie-takers, but generally revealed that self-presentations diverge as a function of ethno-racial identity. That is, results showed more convergence between ethno-racial identity for portraying selfies with objectified elements, whereas divergence in online self-presentations occurred for portraying contextualised selves and filter usage. In all, this study examined the complexity of online self-presentation. Here, we extend earlier cross-cultural research by exploring the convergence-divergence paradigm for the role of externally imposed ethno-racial identity in online self-presentation. Findings imply that ethno-racial identity characteristics remain important in manifestations of online self-presentations. [ABSTRACT FROM AUTHOR]

Selfies are a popular form of photography. However, due to physical constraints, the compositions of selfies are limited. We present algorithms for cre ating virtual portraits with interesting compositions from a set of selfies. The selfies are taken at the same location while the user spins around. The scene is analyzed using multiple selfies to determine the locations of the camera, subject, and background. Then, a view from a virtual camera is synthesized. We present two use cases. After rearranging the distances between the camera, subject, and background, we render a virtual view from a camera with a longer focal length. Following that, changes in perspective and lens characteristics caused by new compositions and focal lengths are simulated. Second, a virtual panoramic view with a larger field of view is rendered, with the user’s image placed in a preferred location. In our experiments, virtual portraits with a wide range of focal lengths were obtained using a device equipped with a lens that has only one focal length. The rendered portraits included compositions that would be photographed with actual lenses. Our proposed algorithms can provide new use cases in which selfie compositions are not limited by a camera’s focal length or distance from the camera.

El presente artículo consiste en la comparación de dos importantes herramientas utilizadas en la evaluación de las competencias digitales en el ámbito educativo: SELFIE y DigCompEdu. Se ha utilizado la técnica Delphi, que involucra a expertos en el campo de las competencias digitales en educación para evaluar y establecer equivalencias entre los indicadores de SELFIE y los niveles de competencia del marco DigCompEdu, con el fin de generar un mapa de la competencia digital docente. Se pretendía, través de esta técnica, averiguar qué indicadores de la herramienta SELFIE (y en qué medida) se corresponden con los indicadores de DigCompEdu según los criterios de los expertos y, por otra parte, establecer la relación existente entre las ocho áreas establecidas en SELFIE y las seis áreas del marco DigCompEdu. Para ello, se han tenido en consideración la cantidad de indicadores que, según los expertos, presentan correspondencias. Los resultados revelan numerosas correspondencias, especialmente en áreas como la enseñanza y la evaluación. Además, demuestra que las áreas de ambos modelos están interrelacionadas, lo que sugiere una conexión significativa entre la competencia digital del personal docente y el desarrollo de competencias digitales de los estudiantes, así como el compromiso profesional.

Selfies are taken to communicate about mental conditions, aims, loves, and commitments. Until now, we lack a unified nomenclature or established classification system for selfies. We can retrieve information about the different types of selfies from various indicators. Most commonly, this is done by analyzing metatags, hashtags, or the linked message of the respective post. Alternatively, we can categorize the depicted selfie's subject or analyze how viewers describe the impression a selfie has on them. We refer to this latter approach as Semantics of Selfies (SoS). In the present study, participants (N = 132) were asked to generate spontaneous associations of selfies from a pool of 1,001 selfies in total. Cluster analyses revealed five main categories (Aesthetics, Imagination, Trait, State, and Theory of Mind) constituting a characteristic semantic profile for selfies. Consequently, the present article provides an understanding of how certain selfies affect viewers to perceive specific qualities in the self-portrayed person in a very compact visual form.

With the development of social networks and hardware devices, many young people have post a lot of high definition v-logs containing selfie images and videos to commemorate and share their daily lives. We found that the reflected image of corneal position in the high definition selfie image has been able to reflect the position and posture of the selfie taker. The classic localization works estimating the position and posture from a selfie are difficult because they lack the knowledge of the environment. The corneal reflection images inherently carry information about the surrounding environment, which can reveal the location, posture and even height of the selfie taker. We analyze the corneal reflection imaging process in the selfie scenario and design a validation experiment based on this process to estimate the pose of the selfie in several scenarios to further evaluate the leakage of the pose information of the selfie taker. [ABSTRACT FROM AUTHOR]

Despite attempts to regulate content, social media platforms continue to host images of antisocial behavior and crime. These images include dashboard videos of road rage and CCTV footage of shoplifting, as well as more extreme recordings of torture, sexual assault, suicide, and mass shootings. These images are often produced by offenders of their own volition using smartphone cameras and wearable recording devices. We understand criminal selfies as media content of antisocial behavior or crime produced by or with the awareness of an offender. By producing a criminal selfie, an offender renders themselves vulnerable to public scrutiny, legal punishment, and other negative outcomes. Yet criminal selfies remain a popular form of toxic online communication. This manuscript theorizes that one of the previously underappreciated explanations for criminal selfies is a desire to broadcast personal grievances. In such cases, they allow an offender to publicize their motivating politics and to offer them to an online audience for consideration and discussion. Antisocial content often evokes an unfavorable ratio of denunciation versus supportive responses. We claim that some offenders wager that a criminal selfie nonetheless earns their grievances a degree of awareness and, potentially, consequence. Some criminal selfies reflect a willingness to self-incriminate by documenting antisocial behavior in hopes that their images will contribute to public discourse. This article contributes to studies of criminal visibility by addressing how it can be intended as political expression. We first outline the concept of the criminal selfie and how it reflects a changing relationship between visibility and criminality in contemporary digital society. We then review literature on the motives of criminals who film themselves. We seek to compliment this literature by considering socially and politically aggrieved individuals producing antisocial content. This includes livestreams of white nationalist mass shootings (Christchurch, Halle) as well as a series of Reddit groups that solicit and (counter-)denounce antisocial grievances by digital media users (r/iamverybadass, r/publicfreakout, r/iamatotalpieceofshit). [ABSTRACT FROM AUTHOR]

Background: What we think we see consists of models constructed in our brains, which may be constrained, limited and perhaps modified at a cerebral level. Patients may view their mirror image differently to how others and the clinical team view them. Understanding potential variations in perception between real and mirror images is important in clinical practice. The aims were to assess differences in self-perception between frontal facial and mirrored photographs, comparing the results with selfie photographs. Methods: Facial photographs were taken by one investigator under standardized conditions for preclinical and clinical students. Each student took a selfie photograph at rest and smiling using his/her smartphone. A mirror image was generated for each image. Each student was shown his/her original and mirror image, without being informed which was which. For each pair of images, students were asked to choose which photograph they perceived as more attractive. A set of photographs of a male volunteer was shown to all participants, to choose either the original or mirror image as the more attractive. Results: Most observers preferred the true image of the volunteer (P < 0.05), which may be evidence that most people prefer the true image of others, which is how they normally view them. Most observers preferred their own original photograph in frontal view at rest and smiling (P < 0.05), but preferred the mirror image of their selfie photograph at rest and smiling (P < 0.05). Conclusions: Significant differences in perceptions of attractiveness between true and mirror-reversed frontal and selfie images were found. Observers preferred their image the way they view themselves in a mirror. The selfie is how other people view an individual. If a selfie is flipped horizontally, that is how an individual sees themselves in a mirror. Most observers preferred the mirror image of their selfie, which is how they would view themselves in a mirror. [ABSTRACT FROM AUTHOR]

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades 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.)

How has digital communication changed expectations and perceptions of proximity and distance? This article traces the media history of a communication mode that relies on intimacy and testifying. By discussing the intrinsic relationship between platform-based information and communication technologies and the attention economy, the development of a communication mode of so-called "presumed intimacy" is elaborated. Drawing on concepts from celebrity studies and advertising, the transformation of spatio-temporal and social distance into felt proximity can be described in more detail. In doing so, the article also stresses the role of images in the fabrication of intimacy and takes selfies and selfie videos of celebrities in the context of protest movements as an example. The connection of protest culture, celebrification and testimonial images demonstrates in a particular way how attention economies in digital communication are structured. [ABSTRACT FROM AUTHOR]

Facade Building, Selfies and Narcissistic Self-Representation in New Media Representing the human face is not an easy task. Susan Sontag points out that one wants an idealized image of oneself: a photo that shows one’s best side. It feels unfair not to be more beautiful in the picture than in reality. This, in turn, shows that most of the photographs are not honest. In addition to the psychological aspect, there is also a sociological one: the construction of the facade, as described by Goffman in his work “Presenting the Self in Everyday Life”. He thinks building a facade is an identity-building strategy for the public, like Facebook. New media has become part of everyday life. This is especially true for Facebook. Over the past decades, there have been major changes in technology that have affected the culture of image and vision. All of this allowed us to take self-photos at any time and publish them in digital media as soon as possible. A selfie (self-photograph) is a photograph that a photographer takes of himself. A selfie is usually a photograph taken with a cell phone and has distinctive features such as a mirror image. A narcissistic person can make many selfies and publish them on social media to seek constant approval. The narcissist can push selfish behaviour to the extremes, to pathological boundaries. The most striking is that even serious people with significant social status make selfies. It is worth circumventing the assumption that there are scientists who consider the selfie to be a mental illness. The evolving technology encourages users of digital media interfaces to try to create an even more complex user profile of themselves. By enabling self-representation, new media is generating more and more knowledge.

As the ethical barriers surrounding ‘digital Holocaust etiquette’ remain contested, scholars like Daniel Magilow and Lisa Silverman question whether there can be unwritten rules of behavior at sites of historical trauma. Because of significant shifts in the digital arena, too, legacy types of memory formation, such as collective memories associated with physical spaces, are being challenged by a new type of digital archive that is both active and passive. This article seeks to interrogate the socio-psychological aspects of selfies taken at Holocaust memorial sites and of their subsequent shaming. We wish to juxtapose current research findings with the public audience’s reaction to these photos after they have been posted on social media. In many respects, commenters may offer insight into a larger phenomenon outside of what is deemed appropriate in terms of Holocaust memory. Our article may not provide solutions or easy answers, but this is not our goal. Rather, our research aims to point to the complex, often uncomfortable, nature of this topic due to the fact that selfies encapsulate both micro and macro histories, reality and virtual reality, and a shift in traditional types of memory formation.

This article deals with the selfie phenomenon among a significant percentage of young people. The main objective of my research took the form of questions: — how much of the study group takes selfies and posts them on social media? — how much does possible satisfaction/lack of satisfaction with life result in taking a selfie? Research strategy: two groups of students: from Poland and the Czech Republic. Purposive random selection. The research method is a diagnostic survey, the technique is a questionnaire, while the tool is a survey questionnaire consisting of extensive 15 questions. I found it interesting to compare the two groups of respondents, that is, young people from Poland and the Czech Republic. I tried to find out why they do so and whether it is due to, for example, satisfaction with life. I tried to look for differences on both sides of the border, if any.

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Focusing on two teenagers grappling with the difficult reality of Naples, Agostino Ferrente's Selfie (2019) is a powerful depiction of an entire community at a significant time, when limited perspectives and the pervasive presence of organized crime – with a value system that is intrinsic to the Camorra – deeply influence the present and the future of a generation. Shot by two 16-year-old boys from the Traiano district (Naples), the film is a powerful example of how self-representation can be a strategic and political tool to immerse in a life and its context. Within the framework of studies on first-person filmmaking and self-representation, and mobilizing concepts from the theory of mobile films, this article argues that, through the filming carried out by the two teenagers, Selfie is able to offer us a wider glimpse of a generation, of its everyday life and imagination, and of its perception of the contemporary media imaginary. I argue that, by employing a reflexive mode of documentary and the linguistic forms of the photographic selfie, the film engages the spectator in an intimate flow of images, questioning authorial instances, the relationship of the iGeneration with filming devices, and the different approaches and aesthetic choices that form the basis of every representation of reality. [ABSTRACT FROM AUTHOR]

Social networks integrate adolescent daily life by configuring modes of socialisation, negotiation and self-representation through different practices that operate as subjectivation resources and condition the gender experience. The objective of this study is to explore the production of selfies and videos among adolescents from Puebla (Mexico) and Galicia (Spain) from a gender, territorial, and sociocultural perspective. A survey study was carried out using an online questionnaire designed ad hoc and applied to 6,654 adolescents (14-17 years), with different gender identities, from public secondary schools in Puebla and Galicia. The results show that the selfie is a more widespread practice among adolescents than video, with revealing differences in its production. Similarities are evident in the level of preparation and the motivations that lead to these practices. Gender differences are found in their production in terms of intentions, materialities, and body expression. The family’s sociocultural level and the territory are visualised as realities that affect the production of these practices. The conclusions point to a transition of knowledge and meanings between the selfie and video and the relevance of analysing gender experience on social networks in light of the forms of power they exercise there. [ABSTRACT FROM AUTHOR]

Based on the tripartite influence model, the present study linked investment in others' selfies on social media to facial dissatisfaction and cosmetic surgery consideration. We also tested the mediating role of appearance comparisons and general attractiveness internalization in these relationships. Additionally, potential gender differences in the proposed model were examined. A sample of 884 Chinese adolescents (mean age = 16.80 ± 0.92, ranging from 14 to 19 years old) completed self‐reported measures of investment in others' selfies, appearance comparisons, general attractiveness internalization, facial dissatisfaction, and cosmetic surgery consideration. Results showed that investment in others' selfies was positively associated with facial dissatisfaction and cosmetic surgery consideration. Path analysis further revealed that investment in others' selfies was associated with appearance comparisons and general attractiveness internalization, which in turn were associated with facial dissatisfaction, and then facial dissatisfaction was related to cosmetic surgery consideration. Additionally, there were indirect associations between investment in others' selfies and cosmetic surgery consideration via general attractiveness internalization and facial dissatisfaction respectively, but not via appearance comparisons. No gender difference was found in the proposed model. Findings of the present study provide preliminary support for the tripartite influence model in the context of investment in others' selfies on social media and cosmetic surgery consideration and enrich the literature on body image and cosmetic surgery in the Chinese context. [ABSTRACT FROM AUTHOR]

Selfies are a popular form of photography. However, due to physical constraints, the compositions of selfies are limited. We present algorithms for creating virtual portraits with interesting compositions from a set of selfies. The selfies are taken at the same location while the user spins around. The scene is analyzed using multiple selfies to determine the locations of the camera, subject, and background. Then, a view from a virtual camera is synthesized. We present two use cases. After rearranging the distances between the camera, subject, and background, we render a virtual view from a camera with a longer focal length. Following that, changes in perspective and lens characteristics caused by new compositions and focal lengths are simulated. Second, a virtual panoramic view with a larger field of view is rendered, with the user's image placed in a preferred location. In our experiments, virtual portraits with a wide range of focal lengths were obtained using a device equipped with a lens that has only one focal length. The rendered portraits included compositions that would be photographed with actual lenses. Our proposed algorithms can provide new use cases in which selfie compositions are not limited by a camera's focal length or distance from the camera. [ABSTRACT FROM AUTHOR]

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How has digital communication changed expectations and perceptions of proximity and distance? This article traces the media history of a communication mode that relies on intimacy and testifying. By discussing the intrinsic relationship between platform-based information and communication technologies and the attention economy, the development of a communication mode of so-called “presumed intimacy” is elaborated. Drawing on concepts from celebrity studies and advertising, the transformation of spatio-temporal and social distance into felt proximity can be described in more detail. In doing so, the article also stresses the role of images in the fabrication of intimacy and takes selfies and selfie videos of celebrities in the context of protest movements as an example. The connection of protest culture, celebrification and testimonial images demonstrates in a particular way how attention economies in digital communication are structured.