This blog will will examine the role that digital technology plays in shaping the nature of self, through the art and act of taking a selfie. This concept will be explored through an analysis using power, production, representation and identity as an underlying foundation to explore five categories of selfies:
1. Selfie as a powerful message
2. Selfie as documentation of a passing moment
3. Selife as identity formation
4. Selfie as a brand
5. Selfie as an interruption
Message signs and posters have often been used as a way to inspire action. In many cases these signs are used in protest or as a way to bring awareness to a critical issue. Signs can also be used to empower people and bring positive change. Katz adds commentary to this idea by reminding us that the presence of signs and symbols remains prominent in the ever-growing digital world. The fast and far-reaching nature of digital communication also adds power to these messages in a more dynamic way than traditional methods ever could. According to Katz, “posting a photo of yourself with a message makes a bigger statement than simply tweeting a hashtag or anonymously signing a petition,” (2014).
In the example above, Oprah Magazine ran a series of campaigns to encourage women to submit their ‘power selfie’. This included a picture holding a placard completing the sentence "I feel most powerful when..." sent to #OPowerList. Considering the example, it can be suggested that the image and placard itself represent a hint at this person’s identity and that the statement holds powerful insight, both in terms of the actual message and in the intrinsic nature of the motivation behind participation in this campaign. While the image itself is impactful and sends a powerful message, the cutline associated with the image adds another level of appreciation and sense of identity attributes: Major Catherine Labuschagne: South Africa's first female fighter pilot (www.oprahmag.co.za)
According to Leary, “ (…) like all photographs that are posted on line, selfies are used to convey a particular impression of oneself,” (“Scholarly Reflections on the Selfie”, 2013). In this instance the impression is positive, appropriate and linked to a greater meaning.
Selfie as documentation of a Passing Moment
Turkle states, “I interview people about their selfies. It’s how they keep track of their lives,” (2013). Is all of this documentation necessary? I myself am guilty of this self-documentation and have provided a recent example from a trip to Ottawa (below).
I recall sending this image via text with the caption ‘National Art Gallery Selfie. I did take several other far more fascinating images to document my trip, but felt like the selfie was a way to share my experience with others. Is this really a new phenomenon? Photographs have always been used to document passing moments. Lists like ‘What's the most popular place in the world to take a selfie?’ (CNN.com) make this seem like a new concept, but the lists are truly about great places to visit and take an interesting photograph. That being said, there is a certain element of self-absorbed behavior that can permeate the passing moment photograph in a way that places emphasis on the act of taking the photo rather than enjoying and appreciating the moment. Shackleford says, “A recent trip to Stonehenge had me cringing as I watched visitors to the site posing for selfies in self-absorbed abandon beside the ancient monument. Did they feel that the intriguing thing about Stonehenge was their own presence there,” (“Scholarly Reflections on the Selfie”, 2013).
Rutledge suggests that selfies are the most modern way we have of showing images of ourselves,” (2013). Considering these viewpoints, there is a conflicting message in what the selfie says. This is largely dependent on the image itself, the context as well as the interpreter of the image. Is this example selfie placing an undue amount of emphasis on the person rather than the context? Or, does this selfie simply document or capture a memorable moment in time exploring the National Gallery? If this were a profile picture would it be interpreted differently? Rutledge would suggest that profile pictures, even those that are self-generated are perceived differently since they have a role that is widely understood. In this era of self-publishing, context is everything and this example serves to emphasize this concept.
Selfie as identity formation
In this digital era where technology has made constant communication not only possible, but perhaps acceptable, there is no question that societal ideology surrounding interaction has been forever altered. According to Turkle, “there is tendency to use social networking to perform an ideal self,” (2012). The ability to connect in a virtual way, through a range of mediums affords users a feeling of control over time, commitment and identity creation. How then is it even possible to connect and create a sense of self when authenticity is missing from the equation?
In the above example, Ryan Seacrest snaps a selfie with ‘Miss Piggy’ as part of an overall marketing campaign to promote an upcoming movie. While there are elements of staging involved (since we are dealing with a Muppet), there is also a feeling of authenticity in this image. The comedic facial expressions and the ‘subjects’ involved, invoke characteristics that add to the creation of identity. As with many forms of art of visual expression, the interpretation is subjective but ‘fun’ and ‘approachable’ are two attributes that seem like a natural fit.
“The selfie seizes the whole cluster of possibilities that digitization has to offer to individuals in terms of creating their new online identities and presenting their selves and continuously shaping and altering them,” (Miriou, p. 9, 2014).
Selfie as a brand
A brand is not a logo. A brand is not a tagline. A brand, and in this case, a personal brand in its simplest form is comprised of clear, consistent message about who you are and what you have to offer. “In the age social media where consumer brands seek deep consumer engagement, the human race is following suit. We now all behave as brands and the selfie is simply brand advertising,” (Nelson-Field, “Scholarly Reflections on the Selfie”, 2013,). Marketers work towards showcasing consumer products in the best possible light while creating creating and emphasizing brand attributes as often possible.
The selfie above, while casual in nature, features an important brand-identity element associated with Pharrell Williams – the hat. While talent is fundamental to his successful behind the scenes career that has spanned decades, personal style and flair have been critical to the brand that he has been developed in front of the camera. In fact, The Headwear Association announced the results of an online poll that crowned Williams its 2014 "hat person of the year" (ww.theheadwearassociation.org). He creates his self-image with consistent attributes that solidify the way he is perceived – mysterious, trend-setting and ubiquitous.
While some people may intentionally use the selfie as a social networking tool to enhance their image, others may not even realize the extent to which they are creating a personal brand. Since self is created through interaction with others, the very act of taking a selfie, sharing it online, and acknowledging feedback is an act of self-creation. In this visual media, physical appearance becomes a key part of online interaction. Miriou highlights the ability to present yourself in a discerning manner as a critical element of the selfie (2014). While this is true, the perception of others is often skewed. Without context, we don’t know the extent to which the selfie was manipulated or planned in an effort to portray a version of self. Or in an effort to create a public self that is well aligned with personal brand.
Selfie as an interruption
It is safe to presume that President Obama respected Nelson Mandela and what he stood for.
The selfie being taken in the image above serves to reflect the way in which society has adapted to living in a culture of documentation through interruption. Interruption in daily communication and interruption in social norms. By taking a selfie at Mandela’s memorial service, Obama’s actions certainly raised questions about the level of acceptance within what can be considered normative public behavior. In fact, Obama’s actions were widely criticized. While some critics disapproved of the action itself calling it a ‘funeral faux pas’, others made mention of the ‘disapproval’ from the first-lady. Regardless of the headline invoked by this action, photojournalist Roberto Schmidt, who was behind the camera that captured the moment, says his photo suggests “a sign of our times that somehow this image seemed to get more attention than the event itself,” (www.forbes.com). The selfie is an example of the interruption in values and cultural ideologies fostered by a trend made possible by technology. The ability to connect in a virtual way, through a range of social networks affords users a feeling of self-control over time and commitment. Paradoxically, this need to control has created a level of artificial communication and connection that is arguably breaking down the opportunity to engage in meaningful interaction. Turkle suggests that technology makes it easy to communicate when we wish, and to disengage at will, (2012).
While the example is as an extreme representation of the selfie as interruption, there is in fact wide-spread social acceptance and use of the selfie that has seen it become more popular and more aligned with current norms. "People are becoming much more expectant of seeing the selfie," Turkle says, adding, "There's been a definite shift ... and now people no longer think it's narcissistic to get that picture,” (www.today.com). That being said, even in this controlled virtual environment the context was not considered.
Bargh, J., McKenna, K. & Fitzsimmons, G. (2002). Can you see the real me? Activation and expression of the true self on the Internet. Journal of social issues. 58(1), 33-48.
Rutledge suggests that selfies are the most modern way we have of showing images of ourselves,” (2013). Considering these viewpoints, there is a conflicting message in what the selfie says. This is largely dependent on the image itself, the context as well as the interpreter of the image. Is this example selfie placing an undue amount of emphasis on the person rather than the context? Or, does this selfie simply document or capture a memorable moment in time exploring the National Gallery? If this were a profile picture would it be interpreted differently? Rutledge would suggest that profile pictures, even those that are self-generated are perceived differently since they have a role that is widely understood. In this era of self-publishing, context is everything and this example serves to emphasize this concept.
Selfie as identity formation
In this digital era where technology has made constant communication not only possible, but perhaps acceptable, there is no question that societal ideology surrounding interaction has been forever altered. According to Turkle, “there is tendency to use social networking to perform an ideal self,” (2012). The ability to connect in a virtual way, through a range of mediums affords users a feeling of control over time, commitment and identity creation. How then is it even possible to connect and create a sense of self when authenticity is missing from the equation?
In the above example, Ryan Seacrest snaps a selfie with ‘Miss Piggy’ as part of an overall marketing campaign to promote an upcoming movie. While there are elements of staging involved (since we are dealing with a Muppet), there is also a feeling of authenticity in this image. The comedic facial expressions and the ‘subjects’ involved, invoke characteristics that add to the creation of identity. As with many forms of art of visual expression, the interpretation is subjective but ‘fun’ and ‘approachable’ are two attributes that seem like a natural fit.
“The selfie seizes the whole cluster of possibilities that digitization has to offer to individuals in terms of creating their new online identities and presenting their selves and continuously shaping and altering them,” (Miriou, p. 9, 2014).
Selfie as a brand
A brand is not a logo. A brand is not a tagline. A brand, and in this case, a personal brand in its simplest form is comprised of clear, consistent message about who you are and what you have to offer. “In the age social media where consumer brands seek deep consumer engagement, the human race is following suit. We now all behave as brands and the selfie is simply brand advertising,” (Nelson-Field, “Scholarly Reflections on the Selfie”, 2013,). Marketers work towards showcasing consumer products in the best possible light while creating creating and emphasizing brand attributes as often possible.
The selfie above, while casual in nature, features an important brand-identity element associated with Pharrell Williams – the hat. While talent is fundamental to his successful behind the scenes career that has spanned decades, personal style and flair have been critical to the brand that he has been developed in front of the camera. In fact, The Headwear Association announced the results of an online poll that crowned Williams its 2014 "hat person of the year" (ww.theheadwearassociation.org). He creates his self-image with consistent attributes that solidify the way he is perceived – mysterious, trend-setting and ubiquitous.
While some people may intentionally use the selfie as a social networking tool to enhance their image, others may not even realize the extent to which they are creating a personal brand. Since self is created through interaction with others, the very act of taking a selfie, sharing it online, and acknowledging feedback is an act of self-creation. In this visual media, physical appearance becomes a key part of online interaction. Miriou highlights the ability to present yourself in a discerning manner as a critical element of the selfie (2014). While this is true, the perception of others is often skewed. Without context, we don’t know the extent to which the selfie was manipulated or planned in an effort to portray a version of self. Or in an effort to create a public self that is well aligned with personal brand.
Selfie as an interruption
It is safe to presume that President Obama respected Nelson Mandela and what he stood for.
The selfie being taken in the image above serves to reflect the way in which society has adapted to living in a culture of documentation through interruption. Interruption in daily communication and interruption in social norms. By taking a selfie at Mandela’s memorial service, Obama’s actions certainly raised questions about the level of acceptance within what can be considered normative public behavior. In fact, Obama’s actions were widely criticized. While some critics disapproved of the action itself calling it a ‘funeral faux pas’, others made mention of the ‘disapproval’ from the first-lady. Regardless of the headline invoked by this action, photojournalist Roberto Schmidt, who was behind the camera that captured the moment, says his photo suggests “a sign of our times that somehow this image seemed to get more attention than the event itself,” (www.forbes.com). The selfie is an example of the interruption in values and cultural ideologies fostered by a trend made possible by technology. The ability to connect in a virtual way, through a range of social networks affords users a feeling of self-control over time and commitment. Paradoxically, this need to control has created a level of artificial communication and connection that is arguably breaking down the opportunity to engage in meaningful interaction. Turkle suggests that technology makes it easy to communicate when we wish, and to disengage at will, (2012).
While the example is as an extreme representation of the selfie as interruption, there is in fact wide-spread social acceptance and use of the selfie that has seen it become more popular and more aligned with current norms. "People are becoming much more expectant of seeing the selfie," Turkle says, adding, "There's been a definite shift ... and now people no longer think it's narcissistic to get that picture,” (www.today.com). That being said, even in this controlled virtual environment the context was not considered.
References
Bargh, J., McKenna, K. & Fitzsimmons, G. (2002). Can you see the real me? Activation and expression of the true self on the Internet. Journal of social issues. 58(1), 33-48.
Katz, L. (May 2014). “Say it with a Selfie: Protesting in the Age of Social Media,” Retrieved from http://www.npr.org/blogs/alltechconsidered/2014/05/10/311143584/say-it-with-a-selfieprotesting-in-the-age-of-social-media
Miriou, C. (2014). The Selfies: Social Identities in the Digital Age. Retrieved March 1, 2015, from http://www.anzca.net/documents/2014-conf-papers/796-the-selfies-social-identities-in-the-digital-age/file.html
Protest Sign [photograph]. (n.d.). Retrieved from http://www.funniestmemes.com/wp-content/uploads/Funniest_Memes_i-m-so-angry-i-made-a-sign_3523.jpeg
Power, C. (2014). [Power Selfie] [digital image]. Retrieved from http://www.oprahmag.co.za/oprah's-world/exclusives/o's-power-list-candidates-share-their-power-selfies
Protest Sign [photograph]. (n.d.). Retrieved from http://www.funniestmemes.com/wp-content/uploads/Funniest_Memes_i-m-so-angry-i-made-a-sign_3523.jpeg
Power, C. (2014). [Power Selfie] [digital image]. Retrieved from http://www.oprahmag.co.za/oprah's-world/exclusives/o's-power-list-candidates-share-their-power-selfies
Rutledge, P. (2013, July 6). Making Sense of Selfies. Retrieved February 28, 2015, from https://www.psychologytoday.com/blog/positively-media/201307/making-sense-selfies
Scholarly reflections on the selfie. (2013). Retrieved February 27 from http://blog.oup.com/2013/11/scholarly-reflections-on-the-selfie-woty-2013/
Seacrest & Muppets [digital image]. (2014). Retrieved from http://www.ryanseacrest.com/2014/03/page/22/
Schmidt, R. (2013). [President Obama at Nelson Mandela’s memorial] [digital image]. Retrieved from http://www.nydailynews.com/news/politics/president-obama-poses-funeral-selfie-article-1.1543188#ixzz2n64z2ImE.
Turkle, S. (2012). Alone Together: Why we expect more from technology and less from each other. New York, New York: Basic Books
Turkle, S. (2013). The Documented Life. Retrieved February 28 from http://www.nytimes.com/2013/12/16/opinion/the-documented-life.html
Nice job, Jaylene! I liked how you highlighted the insertion of the selfie-taker into the environment or with the object as a brand-building effort, either personal or commercial.
ReplyDeleteWith regard to Obama's wefie/ussie, I can only say that, knowing what I know about Nelson Mandela and his attitude toward convention, he would have approved of Obama's actions that day.