40mm (1.5â) HARD ENAMEL PINS đ¤ Dyed black nickel die used for outline and text on FatPhobic tears and Gold plated for the sweater! Only 50 of each of these are going to the smelter and wonât be sold thereafter! 10% of every sale of a pin goes towards buying menstrual supplies for @bloodygoodperiod
More great visual from Siobhan Williams BodytoBody Project (retrieved from etsy shop linked above).Â
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- âBy biopedagogies, we mean the loose collection of moralised information, advice, and instruction about bodies, minds, and health that works to control people by using praise and shame alongside âexpert knowledgeâ to urge conformity to physical and mental norms  These âassemblagesâ, as Leahy describes them, of instructions and directions about how to live, how to be embodied, and what to do to be âhealthyâ and happy and avoid âriskâ, are transmitted in formal educational contexts, healthcare institutions, and everyday interactionsâÂ
- Carla Rice. âPedagogical Possibilities for Unruly Bodiesâ, 2016.Â
Great photo project! A really engaging illustration of the ways in which neoliberal healthcare models disguise prejudice and neglect of non-normative bodies through the narrative of health education. --âThings I want to visit the doctor about (but wont because of fat shaming and weight stigma)-- (Siobhan Williams). How healthcare becomes a barrier to being healthy if those in need are not white, cishet, thin and able bodied.Â
Virtual animal filters have become a widespread phenomenon on social media platforms such as Snapchat and Instagram. Snapchat originally launched face filters in 2015 and promoted them as âa whole new way to see yourself(ie)â. But what kind of self(ie) do these animal filters show us?
âAnimal filters are a selective and aesthetic form of biomimicry. Nature has an aura of authenticity and beauty and is a terrific marketing tool. We call this phenomenon biomimicmarketing: using images of nature to market a productâ
âThe cute versus wild paradox is illustrating the human experience of nature in our contemporary society. The use of animal filters is actually emphasizing that âI am not an animal, therefore I can pretend to be oneâ.
âContrary to our first hunch, animal filters do not bring us closer to animals. Instead, they enable us to distance ourselves from the species we do not belong to. The humanized animal filters are reinforcing our anthropocentric worldview, in which humans are the center of existence and largely distanced from animals.â
-Meike Schipper. NextNatureNet
------------------------------------------------------------------------------------------This offers an interesting foray into the strange phenomenon of animal filters and the unusual blending of animalistic qualities with qualities of normative feminine beauty (bigger eyes, smaller chin, smooth skin, etc.). Once again a highly feminized media affordance (girls are much more likely to use this tool), what does this say about the ways in which women are expected to present themselves?Â
Further, how can this shape our thoughts regarding the photography of animals (including the new filters that can recognize and mesh with animals faces)? Animal photography seems to, at times, walk a difficult line between the surveillance and non-censensual claiming of animals subjects, ensnaring them in the web of digital presentation, or the relegation of animals to the position of photographed objects, styled and shared as we please. How can the study of non-human life and animal subjectivity complicate social mediaâs obsession with animals in photography.Â
- âThere are hard things about disability and thatâs okay. Bodies are amazing and gross and weird and strange â why do we have to be so positive about it? Why is it so important for us to feel that way?â
-Â âI understand the complexities of documenting your existence because no one else will. And we donât exist in a vacuum. All of the conditions that we live in and are shaped by, they donât just go away when we live our lives. Even within selfies, I still see people choosing to post the selfies where they look thinner, more desirable, more in line with traditional beauty standards. What I see happening with beauty in oppressed communities is that we create an alternative reinforcement, claiming that itâs revolutionary â but itâs a new cage we are all supposed to live in.â
- Mia Mingus. âWhy Ugliness is Vital in the Age of Social Mediaâ, Interview conducted by ALOK, 2018.Â
The performativity, the constructedness, of online identities can exert a pressure to put forward only the most positive, beautiful version of oneself, even as one attempts to make visible the realities and challenges of a marginal existence. The marketing of oneself that is baked into the structure of online social presentation can make real, unmediated, unfiltered reflections on the self difficult, especially under the constraints of hegemonic identity norms and beauty standards. Resistance should not be that which is most palatable for others to look upon. Resistance IS, and should be, ugly.Â
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âHow a body is encoded by a surveillance system (i.e. as desirable or as risky) has a significant impact on the treatment a person will receive in certain situations. Research in the interdisciplinary field of surveillance studies has shown how practices of data profiling â of attributing meaning to data that reflects and reifies pre-existing cultural biases â perpetuate social inequalities on the basis of particular indicators like race, ethnicity, class, age, gender and sexuality. Research on closed-circuit television (CCTV) operation, for example, found that the camera operators in the UK disproportionately monitored young non-white males on the basis of their physical appearance, and not their actual behaviourâÂ
- Gavin J. D. Smith. âSurveillance, Data and Embodiment: On the Work of Being Watchedâ, 2016.Â
The belief that surveillance is a fair and just tool of information collection and law enforcement disregards the history of surveillance tactics that have long targeted marginalized populations in order to control non-conforming behaviour.Â
Patients want to look the way photo-editing apps make them look
- âOne expert described how Instagram in particular might accelerate the âenvy spiralâ of social media: âIf you see beautiful photos of your friend on Instagram,â she postulated, âone way to compensate is to self-present with even better photos, and then your friend sees your photos and posts even better photos, and so on. Self-promotion triggers more self-promotion, and the world on social media gets further and further from reality.â
- âtechnology makes possible many good things; political and economic conditions guarantee, however, that it is constantly warped so that the same kinds of bad patterns repeat themselves, in new and improved forms.â
- Ben Davis. âWays of Seeing Instagramâ, 2014.Â
As âbetterâ selfies are increasingly complimented by the inclusion of filters (both to edit colouring of photos, and the alter the shape of the face) the âenvy spiralâ translates into real life, and the competition becomes the filtered version of yourself, which normal photos can no longer compete with.Â
More than 250 people died taking selfies between 2011 and 2017 and the US National Park Service has published a guide to safe selfies. You can avoid a selfie inflicted death by being sensible and following these simple guidelines.
Lil Nas X made the biggest hit of 2019 for $30. Now he just wants to keep on riding
âInstafame demonstrates that while microcelebrity is widely practiced, those successful at gaining attention often reproduce conventional status hierarchies of luxury, celebrity, and popularity that depend on the ability to emulate the visual iconography of mainstream celebrity culture. This emulation calls into question the idea that social media are an egalitarian, or even just a more accessible, way for individuals to access the currency of the attention economy.â
-Alice Marwick. âInstafame: Luxury Selfies in the Attention Economyâ, 2015.Â
This offers up an interesting line of inquiry into the âdemocraticâ or equalitarian nature of online existence. Lil Nas X, the subject of a viral uprising that shot his hit âOld Town Roadâ to the top of the charts despite industry push back. Perhaps tho, as Alice Marwick suggests, the influence of the masses is limited to fleeting moments of online. Now that Lil Nas X is within the industry itself, the expectations of celebrity existence will likely shape his previously resistive potential into something more akin to mainstream celebrity culture.Â
Sen. Elizabeth Warren (D., Mass.) has a plan to break up big tech firms, but how much does the 2020 presidential candidate know about technology?
âNone of the so-called "selfies" in Warren's video were actually taken by the candidate herself. In other words, they weren't actually selfies. The world of politics, that's called "being out of touch.â
If Warren can't be trusted to educate herself on the most rudimentary of tech-related terminology, how can she be trusted to lead on tech issues, much less stand up to Vladimir Putin?â
- Andrew Stiles. âOUT OF TOUCH: Big Tech Antagonist Elizabeth Warren Doesnât Know What âSelfieâ Meansâ, 2019.Â
I think we could call this one, damned if you do, damned if you donât lol. Senator Elizabeth Warren is admonished for her more loosely defined use of the word âselfieâ (the speaker takes offense at her use of the word to describe a self-focused photo session that was not taken by the senator personally).Â
Amidst regular attacks on womenâs obsession with selfie culture as evidence of their inherent narcissism, this editorial speaks to the culture of blame and shame that surrounds womenâs online presence- narcissistic and self-absorbed, or simply out of touch- either way, womenâs online presence is surveilled and critiqued.Â
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âPosted her friendâs selfies on her story and this dude rly didnât like it I guess...?â
- âThe critical reflex is to dismiss selfies as yet another indication of a pervasive culture of narcissism. I disagree. The narcissism critique approaches the selfie as if it were analyzing a single photograph. It views the person in that photograph as the photographâs subject. Selfies, though, should be understood as a common form, a form that, insofar as it is inseparable from the practice of sharing selfies, has a collective subject. The subject is the many participating in the common practice, the many imitating each other. The figure in the photo is incidental.âÂ
-Â âWhen we upload selfies, we are always vaguely aware that someone, when it is least opportune, may take an image out of its context and use it to our disadvantage. But we make them anyway as part of a larger social practice that says a selfie isnât really of me; itâs not about me as the subject of a photograph. Itâs my imitation of others and our imitation of each other.â
(Jodie Dean. âImages without Viewers: Selfie Communismâ, 2016)
âThis notion takes on great significance in social media culture, when confronted with the sheer volume of self-representations by women in their teens to mid-20s. Viewed individually, they appear rather banal, commonplace, and benign. Taken en masse, it feels like a revolutionary political movement â like a radical colonization of the visual realm and an aggressive reclaiming of the female body. Even if there is no overt political intent, they are indeed contending with the manner in which capitalism is enacted upon their lives.âÂ
(Derek Conrad Murray. âNotes to self: the visual culture of selfies in the age of social mediaâ, 2015)
"Apparently Being a Self-Obsessed C**t Is Now Academically Lauded": Experiencing Twitter Trolling of Autoethnographers
- âOne twitter user noted that autoethnography was the "selfie" of academia. Along the same lines anotherâand my personal favoriteâsaid that autoethnography was akin to "diddling your pet hamster." These tweets neatly sum up the principal criticism of autoethnography: self-indulgenceâ Â
- focus on the self, according to FINE (1999), transforms "the intensive labor of field research into the armchair pleasures of 'me-search'"Â
- Elaine Campbell. âForum: Qualitative Social Researchâ, 2017.Â
Beyond this discussion into the tendency to trivialize self-focused research/production as an academic âselfieâ, it is important to consider also who requires the tool of autoethnography. The trivializing of online self-creation may be, in part, an attempt by those amongst dominant social groups to limit the space available for marginalized groups (racialized populations, LGBTQ+ populations, Indigenous populations, etc.) to identify, create, archive, and share their existence. The practice of exclusion in personal and cultural identity building is embedded into the social narrative, meaning that online spaces are often the only place available to marginalized populations who wish to take up the important work of self-making.Â
âSam I know this isnât what you wanted but I need you to know I respect what youâre sayingâ
Do counterveillance tactics function to police and modify harmful behaviour online? In the wake of @SheRatesDogs viral success, men recognize (with surprise) the frequency with which online abuse of women occurs, and attempt to pinpoint (and avoid) their own complicity in this toxic culture. But who does this help? Can a site like SheRatesDogs tackle issues of racism, transphobia, etc.,or is the productivity of the site limited to promoting the causes of primarily white women? For whom is this âa gameâ, and for whom does it become a life or death matter?Â
Anytime young people get together, the pics start flowing.
- âAirDrop is like a roving ephemeral message board that anyone in the area can contribute toâ.
- âItâs not unheard of for kids to blast out nudes (of themselves or others) and porn. Some kids bully one another by distributing compromising or unflattering photos of their classmates. Because AirDrop is a feature that is automatically included on every iPhone, not a social-media app, thereâs no moderation or reporting tools, nor can anyone get banned from the service for sharing graphic or sexual images like you could on Instagram, for instance.â
 - âAdults who stumble into an AirDrop ring usually feel like theyâve entered the wrong room. It can feel awkward, and grown-ups often arenât sure whether theyâre being trolled.âÂ
- Taylor Lorenz. The Atlantic, 2019 (shared via her Twitter Account, @TaylorLorenz)Â
The Air-drop feature on Iphones presents an interesting study into technological affordances that be be both socially beneficial, and occasionally, somewhat invasive. While the feature can be turned on and off, those who choose to leave airdrop on can never anticipate when, or what, they could receive. While harmless memes and jokes may leave some bemused, the opportunities for unwanted sexual advances (or harassment, e.g. unsolicited dick picks or âcyber flashingâ), cyberbullying, cheating on tests, etc. make the feature a precarious tool that can often slip into dangerous waters. As there is no way to monitor or police the tool, users take a risk when they opt to leave the feature on.Â
âOnline harassment is robustly resistant to policing partly because of anonymity and pseudonymity, and online threats often are not taken seriously, but rather are tolerated as part of Internet cultureâ (Lisa Nakamura, Blaming, Shaming and the Feminization of Social Media, 225 ). Can âcounterveillanceâ be translated into real-world punitive action for abusers? @SheRatesDogs twitter platform organizes a collective response to online harassment (by way of petition) that instigates an investigation into online harassment against female students. Is this movement between counterveillance and legal action a positive step? Or does this further envelop marginalized groups within the âdanger of state scrutinyâ? (Nakamura, 225).Â
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