From Self To Selfie

This edited collection charts the rise and the fall of the self, from its emergence as an autonomous agent during the Enlightenment, to the modern-day selfie self, whose existence is realised only through continuous external validation. Tracing the trajectory of selfhood in its historical development - from the Reformation onwards - the authors introduce the classic liberal account of the self, based on ideas of freedom and autonomy, that dominated Enlightenment discourse. Subsequent chapters explore whether this traditional notion has been eclipsed by new, more rigid, categories of identity, that alienate the self from itself and its possibilities: what I am, it seems, has become more important than what I might make of myself. These changing dynamics of selfhood – the transition From Self to Selfie - reveal not only the peculiar ways in which selfhood is problematized in contemporary society, but equally the tragic fragility of the selfie, in the absence of any social authority that could give it some security.

“An intriguing odyssey” though the history of the self and the rise of narcissism (The New York Times). Self-absorption, perfectionism, personal branding—it wasn’t always like this, but it’s always been a part of us. Why is the urge to look at ourselves so powerful? Is there any way to break its spell—especially since it doesn’t necessarily make us better or happier people? Full of unexpected connections among history, psychology, economics, neuroscience, and more, Selfie is a “terrific” book that makes sense of who we have become (NPR’s On Point). Award-winning journalist Will Storr takes us from ancient Greece, through the Christian Middle Ages, to the self-esteem evangelists of 1980s California, the rise of the “selfie generation,” and the era of hyper-individualism in which we live now, telling the epic tale of the person we all know so intimately—because it’s us. “It’s easy to look at Instagram and selfie-sticks and shake our heads at millennial narcissism. But Will Storr takes a longer view. He ignores the easy targets and instead tells the amazing 2,500-year story of how we’ve come to think about our selves. A top-notch journalist, historian, essayist, and sleuth, Storr has written an essential book for understanding, and coping with, the 21st century.” —Nathan Hill, New York Times-bestselling author of The Nix “This fascinating psychological and social history . . . reveals how biology and culture conspire to keep us striving for perfection, and the devastating toll that can take.”—The Washington Post “Ably synthesizes centuries of attitudes and beliefs about selfhood, from Aristotle, John Calvin, and Freud to Sartre, Ayn Rand, and Steve Jobs.” —USA Today “Eminently suitable for readers of both Yuval Noah Harari and Daniel Kahneman, Selfie also has shades of Jon Ronson in its subversive humor and investigative spirit.” —Bookseller “Storr is an electrifying analyst of Internet culture.” —Financial Times “Continually delivers rich insights . . . captivating.” —Kirkus Reviews

Do you want to improve your social-media profile? Learn how to express yourself through beautiful, artistic self-portraits with Take Your Selfie Seriously: The Advanced Selfie and Self-Portrait Handbook. Existing in today's world without photos of yourself is hardly possible, existing without great photos of yourself can be crippling. Take Your Selfie Seriously walks you through the fundamentals of taking the perfect selfie - the gear, pose, facial expression, outfit choice, story, composition, lighting and more. Posting your selfie is an opportunity for you to declare visually who you are and what you aspire to be. Take it seriously and you'll unleash a whole new world of opportunity and potential in the process. From Sorelle Amore, the well-known photographer, filmmaker, influencer and savvy business person whose #Blessed Instagram and Advanced Selfie University programmes have inspired her millions followers across the globe to up their selfie game and improve their online presence!

A set of bold theoretical reflections on how the social photo has remade our world. With the rise of the smart phone and social media, cameras have become ubiquitous, infiltrating nearly every aspect of social life. The glowing camera screen is the lens through which many of seek to communicate our experience. But our thinking about photography has been slow to catch-up; this major fixture of everyday life is still often treated in the terms of art or journalism. In The Social Photo, social theorist Nathan Jurgenson develops bold new ways of understanding photography in the age of social media and the new kinds of images that have emerged: the selfie, the faux-vintage photo, the self-destructing image, the food photo. Jurgenson shows how these devices and platforms have remade the world and our understanding of ourselves within it.

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.

This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.

This book explores how the Internet is connected to the global crisis of liberal democracy. Today, self-promotion is at the heart of many human relationships. The selfie is not just a social media gesture people love to hate. It is also a symbol of social reality in the age of the Internet. Through social media people have new ways of rating and judging themselves and one another, via metrics such as likes, shares, followers and friends. There are new thirsts for authenticity, outlets for verbal aggression, and social problems. Social media culture and neoliberalism dovetail and amplify one another, feeding social estrangement. With neoliberalism, psychosocial wounds are agitated and authoritarianism is provoked. Yet this new sociality also inspires resistance and political mobilisation. Illustrating ideas and trends with examples from news and popular culture, the book outlines and applies theories from Debord, Foucault, Fromm, Goffman, and Giddens, among others. Topics covered include the global history of communication technologies, personal branding, echo chamber effects, alienation and fear of abnormality. Information technologies provide channels for public engagement where extreme ideas reach farther and faster than ever before, and political differences are widened and inflamed. They also provide new opportunities for protest and resistance.

This collection explores the cultural fascination with social media forms of self-portraiture, "selfies," with a specific interest in online self-imaging strategies in a Western context. This book examines the selfie as a social and technological phenomenon but also engages with digital self-portraiture as representation: as work that is committed to rigorous object-based analysis. The scholars in this volume consider the topic of online self-portraiture—both its social function as a technology-driven form of visual communication, as well as its thematic, intellectual, historical, and aesthetic intersections with the history of art and visual culture. This book will be of interest to scholars of photography, art history, and media studies.