#networked visuality

Since the dawn of time, humans have used visual imagery in one form or another (paintings, drawings, photographs) to document events and memories. In the 21st century, with the ability to capture a photo on a mobile device and share it with a global audience instantaneously personal photography has “transformed as part of the social web, with its convergence of personal expression, interpersonal communication, and online social networks” (Vivienne & Burgess 2013).

With the birth of social platforms like Facebook and Instagram, a new age of ‘networked visuality’ emerged, and imagery became the centrepiece of communication and self-expression online (Swinburne 2018). As Jurgenson (2013) highlights, the documenting of one’s life through a series of photographs and sharing this with a global audience in a permanent way holds a sense of nostalgia and sentiment.

However, the release Snapchat in 2011 changed the game. With the ‘life’s more fun when you live in the moment’ philosophy and ephemeral, moments are temporary, anti-nostalgia logic, Snapchat introduced a new way of communicating through visual imagery (Jurgenson 2013; Veynerchuk 2015; Snap Inc. 2019).

So, is Snapchat the future of social networking?

Arguing that traditional, profile-based social media is dying, Snapchat founder Evan Speigel said that the selfie culture of Snapchat marks the transition from “digital media as self-expression” to “digital media as communication” (Herrman 2014). In support of this, Jurgenson suggests that the absence of a function for liking or commenting on an image, the ephemeral nature of Snapchat means that “communication is done through photos, rather than around them” (Herrman 2014).

According to Seth (2016), millennials are migrating to Snapchat as a way to share moments with close friends without the “warped virtual validation” that comes with other social media. Research further suggests that Snapchat user’s behaviours and relationships are different to those they express/have on other social media platforms (Phua, Jin & Kim 2017).

To see if these findings had any truth, I decided to observe how my friends used each social media platform. I was surprised to notice a marked difference in the role that each platform played in facilitating self-expression and communication. Facebook and Instagram were primarily used to share past events for self-image purposes. Whereas, Snapchat was used to have a conversation back and forth with a very select group of close friends. I also noticed that my friends often made comments like, “Don’t post that photo on Facebook, I don’t look good in it, just send it to our group on Snapchat” - demonstrating their privacy and personal image concerns. Additionally, there was a drawn-out selection process for which photos were ‘worthy’ of Facebook/Instagram – only the best were ever selected.

In my opinion, each social platform will continue to have its place in the ecological system of the online community. However, I do feel that with growing concerns around privacy, the snap, send, erase culture of Snapchat will continue to grow in popularity and overtake the other platforms.

They say that a picture speaks a thousand words, and it is obvious that many people believe that because posting of photographs onto social media platform of your choice is increasing at a staggering rate. Many platforms use visual components to facilitate connection between their users, this development is known as networked visuality.

It is believed that availability and quality of photography and video equipment has afforded the proliferation of this medium on social networking sites.  It is no longer a ‘sometimes event’ commemorating special occasions but an everyday occurrence used to mark moments of interest.  The central subject of this movement is the selfie photograph.

As far as selfies go, they are nothing new.  In the old days people still took selfie photographs, so that is not so much the issue.  The issue is the purpose and use of these photographs then and now.  In the 'Videos of Affinity' (Lang, 2009) paper it refers to people using these videos and photographs to change opinion, try and improve acceptance for all individuals, being part of an activist movement.  However, most selfies are not used in that way.

So, the question then, is why are we taking and uploading selfies today?  Nathan Jurgenson in the YouTube video ‘Photography, Self Documentation, & Social Media’ (2014) states that we all act as curators in the museum of our lives taking a record of everything that comes along to preserve it through documentation.  However, do we really feel like that or is it like he further states that it is so that we can get more social or cultural capital through our social media accounts and faux value to our lives.  Do we diminish the value of our existence by recording everything and anything that comes along?

Putting non-descript selfies among the sea of other non-descript selfies seems like a cry for attention and nothing more.  A good reason for existence is missing for a lot of the pictures and videos that are uploaded to everyone but the person posting it. It has been pointed out by Jurgenson (2014) that the availability of an audience is the main reason for social media existence and in turn I think that lends itself to the selfie as an extension of that process.

But are we oversharing.  In my opinion unless you have obtained my permission to share the photo or video with me, yes you are overstepping your bounds.  The real problem is that everyone can see the photographs and in most part, they become junk mail or advertising, a bother, a waste of my time.  The issue is not the technology, it falls back on the people because sharing of any sort, including visual, is a privilege not a right, we need to learn to respect that and each other.  You want to take selfies, go for it.  You want to share them with me, ask me first.

Links:

Photography, Self Documentation & Social Media video link: https://www.youtube.com/watch?v=MnPtZ5lKDHo

 References:

Jason Farman 2014, Photography, Self Documentation, & Social Media: An Interview with Nathan Jurgenson, 16 June, <https://www.youtube.com/watch?v=MnPtZ5lKDHo>, Viewed: 8 Jan 2018

Lange, P 2009, ‘Videos of Affinity on YouTube’, in P, Snickars & P, Vonderau (eds), The YouTube Reader, National Library of Sweden, Stockholm, pp. 70-88.

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