The Human Use of the Human Face: The Photographic Self-­Portrait in the Age of the Selfie

Karen Ann Donnachie's research explores the phenomenon of the selfie as a vehicle for the mass projection of self and the effect it has on contemporary notions of identity, society and photography. During her practice-led research, Donnachie created electronic, algorithmic and Internet artworks including self-made and self-programmed ‘selfie’ cameras. This thesis maps the complex genre of the selfie between performance, narcissism, social tic, intrinsic desire for self-projection and a quest for authenticity and human connection

Assessing the effect of narrative transportation, portrayed action, and photographic style on the likelihood to comment on posted selfies

Purpose: This research assesses the effect of narrative transportation, portrayed action, and photographic style on the likelihood to comment on posted consumer photos. Design/methodology/approach: Integrating visual semiotics and experiments, this research empirically examines the influence of consumer photos on viewers’ likelihood to comment on the visualised narrative. One pilot, three experimental, and a content analysis involve photos varying in their narrative perspective (selfie vs. elsie) and portrayed content (no product, no action, or directed action). We also test for the boundary condition of the role of the photographic style (snapshot, professional, and “parody” selfie) on the likelihood to comment on consumer photos. Findings: Viewers are more likely to comment on photos displaying action. When these photos are selfies, the effect is exacerbated. The experience of narrative transportation — a feeling of entering a world evoked by the narrative — underlies this effect. However, if a snapshot style is used (primed or manipulated) — namely, the photographic style appears genuine, unposed, unconstructed, and natural — the superior effect of selfies disappears because of greater perceived silliness of the visualised narrative. Practical implications: Managers should try to motivate consumers to take selfies portraying action if their aim is to encourage eWOM. Social implications: Organisations can effectively use consumer photos portraying consumption for educational purpose (e.g. eating healthfully, reducing alcohol use). Originality/value: This research links consumer photos and eWOM and extends the marketing literature on visual narratives, which is mainly focused on company — rather than user-generated content

Aesthetic choices: Defining the range of aesthetic views in interactive digital media including games and 3D virtual environments (3D VEs)

Defining aesthetic choices for interactive digital media such as games is a challenging task. Objective and subjective factors such as colour, symmetry, order and complexity, and statistical features among others play an important role for defining the aesthetic properties of interactive digital artifacts. Computational approaches developed in this regard also consider objective factors such as statistical image features for the assessment of aesthetic qualities. However, aesthetics for interactive digital media, such as games, requires more nuanced consideration than simple objective and subjective factors, for choosing a range of aesthetic features. From the study it was found that the there is no one single optimum position or viewpoint with a corresponding relationship to the aesthetic considerations that influence interactive digital media. Instead, the incorporation of aesthetic features demonstrates the need to consider each component within interactive digital media as part of a range of possible features, and therefore within a range of possible camera positions. A framework, named as PCAWF, emphasized that combination of features and factors demonstrated the need to define a range of aesthetic viewpoints. This is important for improved user experience. From the framework it has been found that factors including the storyline, user state, gameplay, and application type are critical to defining the reasons associated with making aesthetic choices. The selection of a range of aesthetic features and characteristics is influenced by four main factors and sub-factors associated with the main factors. This study informs the future of interactive digital media interaction by providing clarity and reasoning behind the aesthetic decision-making inclusions that are integrated into automatically generated vision by providing a framework for choosing a range of aesthetic viewpoints in a 3D virtual environment of a game. The study identifies critical juxtapositions between photographic and cinema-based media aesthetics by incorporating qualitative rationales from experts within the interactive digital media field. This research will change the way Artificial Intelligence (AI) generated interactive digital media in the way that it chooses visual outputs in terms of camera positions, field-view, orientation, contextual considerations, and user experiences. It will impact across all automated systems to ensure that human-values, rich variations, and extensive complexity are integrated in the AI-dominated development and design of future interactive digital media production

The family snapshot: parental representations of family and children on instagram

This thesis addresses parental identity and the family snapshot in the age of social media, through uses of Instagram. Tracing the socio-historical development of the family snapshot and its visual tropes, the thesis highlights that family photography has never been an endeavour to record a full, accurate record of family life. Instead it represents a complex social artefact embodying understandings regarding socially desirable depictions of parenting, familial harmony and childhood. This work situates these characteristics as representing inherited social knowledge which shape domestic photographic practice. Over 3 phases of work, visual representation of family life on Instagram is investigated. Using qualitative methods, a comparative approach is taken in considering divergence and retention of analogue characteristics. The first phase of work suggests that Instagram sharing has not fundamentally reimagined the family snapshot from its previous format in family photo albums. Images retain the key tropes of positive representation, omission of negative imagery, and depiction of familial harmony that were present in family photo albums. The second phase of work, through an ethnographic study of 20 successful Instagram accounts of mothers, focuses upon family images as part of long-term maternal narrative building. The reported findings present evidence of mothers visually documenting labour in carrying out Hays (1996) ideology of intensive motherhood. However, this is presented as part of highly aesthetically-driven lifestyle imagery. In the third phase of work, the thesis reports a further secondary analysis of the ethnographic data, drawing upon Belk’s (1988) conceptualisation of possessions as pivotal to an extended sense of self. This exploratory work poses that family snapshots contribute significantly towards understandings of contemporary online maternal identity, moving forward sociocultural discourses on family photography and representation. The thesis makes a number of contributions, deepening understanding of the mediating role of digital photography in online maternal self-expression and family representation; developing a deeper understanding of the role of family snapshots as a social artefact; and demonstrating the viability of developing comparative analysis from literature to interrogate snapshot imagery on social media. The thesis work also holds implications for the development of policy around communication strategies for engaging with new mothers, and concludes with discussion of future possibilities for further visual analysis of Instagram communitie

“I exploit my children for millions and millions of dollars on my mommyblog” How Heather B. Armstrong’s personal blog became a successful business

This study interrogates strategies to convert a personal blog into a brand and a business by analysing the narrative and aesthetic techniques involved in generating audience engagement, trust and affection, and the branding and monetisation approaches involved in developing a blog into a revenue-generating enterprise. The strategies presented in this study have been extrapolated from an in-depth analysis of the extremely successful personal blog: www.dooce.com, the website of Heather B. Armstrong. The research questions this study aims to address are grounded in distinct fields of enquiry, examining the narrative and aesthetic features underpinning the conversion of a personal blog into a brand; the representation of the everyday and its role in the construction of the blogger avatar as a human brand; the interplay between writing motivations and brand core values; and the influence that stereotypes about stay-at-home mothers, pregnancy and motherhood exert on the brand creation process of a female author. The interdisciplinary nature of this study is mirrored in its multi-faceted analytical approach which draws on theories pertaining to diverse fields of enquiry such as narratology, aesthetics, digital media, marketing communications and branding. The study aims to present strategies to construct a personal brand in the context of co-created online forums, with an emphasis on attaining authenticity, followership and audience loyalty through careful framing and strategic use of second person narration, and aesthetic categories such as zany, cute, interesting and abject. The study transposes a narrative approach to branding and online marketing studies with the aim of proposing a model of personal branding whereby blogger identity is simultaneously the product of authorial control and consumer-driven cultural work, with the blogger negotiating her personal brand in relation to personal values, everyday life circumstances, commercial pressures and audience feedback. The key propositions of this study are, firstly, that the use of second person narration as interpellation into active readerhood and of the cute, interesting, zany and abject as aesthetic categories that create novel reading experiences can generate high audience engagement, the abject being also directly related to fostering trust and authenticity. Secondly, bloggers can become human brands by strategically exhibiting and then reinforcing personality traits related to sophistication, competence, sincerity, excitement, ruggedness and non-conformism. Thirdly, consistency in writing style and self-disclosure can foster audience attachment and trust in the integrity and authenticity of the human brand. Fourthly, consumer attachment can be strategically cultivated through audience autonomy, competence and relatedness to the human brand and the development of an online brand community

Self-Representation in an Expanded Field

Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, –as this project aims to do address via a variety of interdisciplinary approaches– selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today. Ace LehnerEdito

Timeline design for visualising cultural heritage data

This thesis is concerned with the design of data visualisations of digitised museum, archive and library collections, in timelines. As cultural institutions digitise their collections—converting texts, objects, and artworks to electronic records—the volume of cultural data available grows. There is a growing perception, though, that we need to get more out of this data. Merely digitising does not automatically make collections accessible, discoverable and comprehensible, and standard interfaces do not necessarily support the types of interactions users wish to make. Data visualisations—this thesis focuses on interactive visual representations of data created with software—allow us to see an overview of, observe patterns in, and showcase the richness of, digitised collections. Visualisation can support analysis, exploration and presentation of collections for different audiences: research, collection administration, and the general public. The focus here is on visualising cultural data by time: a fundamental dimension for making sense of historical data, but also one with unique strangeness. Through cataloguing, cultural institutions define the meaning and value of items in their collections and the structure within which to make sense of them. By visualising threads in cataloguing data through time, can historical narratives be made visible? And is the data alone enough to tell the stories that people wish to tell? The intended audience for this research is cultural heritage institutions. This work sits at the crossroads between design, cultural heritage (particularly museology), and computing—drawing on the fields of digital humanities, information visualisation and human computer-interaction which also live in these overlapping spaces. This PhD adds clarity around the question of what cultural visualisation is (and can be) for, and highlights issues in the visualisation of qualitative or nominal data. The first chapter lays out the background, characterising cultural data and its visualisation. Chapter two walks through examples of existing cultural timeline visualisations, from the most handcrafted displays to automated approaches. At this point, the research agenda and methodology are set out. The next five chapters document a portfolio of visualisation projects, designing and building novel prototype timeline visualisations with data from the Wellcome Library and Victoria & Albert Museum, London, Cooper Hewitt Smithsonian Design Museum, New York City, and the Nordic Museum, Stockholm. In the process, a range of issues are identified for further discussion. The final chapters reflect on these projects, arguing that automated timeline visualisation can be a productive way to explore and present historical narratives in collection data, but a range of factors govern what is possible and useful. Trust in cultural data visualisation is also discussed. This research argues that visualising cultural data can add value to the data both for users and for data-holding institutions. However, that value is likely to be best achieved by customising a visualisation design to the dataset, audience and use case. Keywords: cultural heritage data; historical data; cultural analytics; cultural informatics; humanities visualisation; generous interfaces; digital humanities; design; information design; interface design; data visualisation; information visualisation; time; timeline; history; historiography; museums; museology; archives; chronographics