Networked Collective Symbolic Capital Revisited

This study attempts to illustrate identity performance via the display of symbolic capital by Taiwanese gay men through photo-sharing experiences on Instagram. For Taiwanese gay men, photo-sharing experiences on Instagram have become a significant venue where they can interact with selected publics through performing various personae. This study has classified roles with various forms of cultural capital as well as clarifying how distinction is meticulously maneuvered among collapsed contexts. Through ethnographic interviews with 17 gay male college students from Taiwan and textual analysis of their correspondence though texting on Instagram, this study first contextualizes how the interactional processes engaged in on Instagram help constitute a collective identity pertaining to Taiwanese gay men on Instagram. The photo-sharing experiences are examined as an identity-making process involving the display of various symbolic capital, illuminating the calculated performance of taste and the collective past oppressed by the heteronormative society. The conclusion offers an alternative sociological intervention that goes beyond the notion of digital narcissism to help understand how the cultural capital on the presumption of photo-sharing experiences is invested.

Analisis Vidio Likes to Followers Ratio Instagram Pada 5 Brand Fashion Lokal Yang Mendunia

Instagram is a photo sharing application that applies digital filters and shares them via social networking services. Communication between Instagram users can be established by liking and commenting on photos uploaded by other users. Instagram is in great demand by almost allcircles. As one of the social media loved by the Indonesian people who can share photo content. By accessing Instagram, it will be an exciting activity favored by Indonesian internet users. It is not surprising that online businesses are starting to use Instagram to expand their business. This study uses a quantitative exploratory method to determine the credibility of the performance of 5 global local fashion brand Instagram accounts. Explorative research is a type of social research whose purpose is to provide a little definition or explanation of the concepts or patterns used in the research. From the Table of Account Ratio Values for 5 Global Local Fashion Brands, it can be concluded that Erigo Store gets the highest score for the ratio of Video Likes. to Followers Ratio. While the Instagram account Casteyewear got the lowest score for this ratio. So, in this study, Erigo Store has better credibility than other brands.

From Family Albums to Global Search Engines: Translating Family Photographs for the Digital Age

<p>This thesis examines the ways digital photo-sharing platforms adopt, use and challenge the discourse of the material family album as a way of demonstrating the uses for new media within the private sphere. It analyses the digital photo-sharing platforms of Picasa and Shutterfly, platforms which often take contrasting approaches to negotiating the relationship between material and digital cultures. By examining these platforms in terms of the way they reference and use the discourse of the material family album, the ways they allow content to be used and accessed, and their relationship to commercial culture, this thesis explores how these platforms use the discourse to transform the way the family and the family album interact with one another, and with geography, time and commercial culture. It argues that the discourse of the material family album is translated by digital photo-sharing platforms in order to ensure the family participates in the digital sphere, drawing more of human communication into the online space where it can be mediatized, observed, and commodified. The thesis begins by defining the discourse of the material family album, drawing on the ways the family album is commonly described in academic literature. It identifies a common discourse in discussions of the family album which suggests a particular way of thinking about the album’s functions and practices. The second chapter explores the ways digital photo-sharing platforms adopt and translate this discourse, and give these social practices a visual, media form. These platforms draw the family into the digital sphere by abstracting these practices from the material world and rendering them visible in their interfaces. As a result of this, however, the practices become subject to an increasing degree of standardisation and control from outside the family. The third chapter addresses the issue of access to family albums in both the material and digital contexts. It argues that the benefits of using digital interfaces lie in how they enable a reinterpretation of the significance of geography and time to both the album and its viewers. The characteristics of new media therefore challenge how access to the album was granted and refused in the material world. The final chapter explores the relationship between the family album and commerce, and argues that the commodification of the family album and the practices involved in creating them are perhaps the strongest driving factor in the desire to connect the family with new media and the internet. When the discourse of the material family album is realised within digital photo-sharing platforms, the relationship between family albums and commodities is changed, meaning digital photo-sharing within the commercially owned platforms of Picasa and Shutterfly involve families and their leisure activities more and more strongly in the world of commerce.</p>

From Family Albums to Global Search Engines: Translating Family Photographs for the Digital Age

<p>This thesis examines the ways digital photo-sharing platforms adopt, use and challenge the discourse of the material family album as a way of demonstrating the uses for new media within the private sphere. It analyses the digital photo-sharing platforms of Picasa and Shutterfly, platforms which often take contrasting approaches to negotiating the relationship between material and digital cultures. By examining these platforms in terms of the way they reference and use the discourse of the material family album, the ways they allow content to be used and accessed, and their relationship to commercial culture, this thesis explores how these platforms use the discourse to transform the way the family and the family album interact with one another, and with geography, time and commercial culture. It argues that the discourse of the material family album is translated by digital photo-sharing platforms in order to ensure the family participates in the digital sphere, drawing more of human communication into the online space where it can be mediatized, observed, and commodified. The thesis begins by defining the discourse of the material family album, drawing on the ways the family album is commonly described in academic literature. It identifies a common discourse in discussions of the family album which suggests a particular way of thinking about the album’s functions and practices. The second chapter explores the ways digital photo-sharing platforms adopt and translate this discourse, and give these social practices a visual, media form. These platforms draw the family into the digital sphere by abstracting these practices from the material world and rendering them visible in their interfaces. As a result of this, however, the practices become subject to an increasing degree of standardisation and control from outside the family. The third chapter addresses the issue of access to family albums in both the material and digital contexts. It argues that the benefits of using digital interfaces lie in how they enable a reinterpretation of the significance of geography and time to both the album and its viewers. The characteristics of new media therefore challenge how access to the album was granted and refused in the material world. The final chapter explores the relationship between the family album and commerce, and argues that the commodification of the family album and the practices involved in creating them are perhaps the strongest driving factor in the desire to connect the family with new media and the internet. When the discourse of the material family album is realised within digital photo-sharing platforms, the relationship between family albums and commodities is changed, meaning digital photo-sharing within the commercially owned platforms of Picasa and Shutterfly involve families and their leisure activities more and more strongly in the world of commerce.</p>

Faces are protected as Privacy: an Automatic Tagging Framework against Unpermitted Photo Sharing in Social Media

On friendly stages like Facebook, it is well known and pleasurable to share photographs among companions, yet it likewise places different members in a similar picture in peril when the photographs are delivered online without the consent from them. To tackle this issue, as of late, the analysts have planned some fine-grained admittance control systems for photographs shared on the social stage. The uploader will label every member in the photograph, then, at that point they will get inward messages and arrange their own security control procedures. These techniques ensure their protection in photographs by obscuring out the essences of members. Notwithstanding, there is still some deformity in these procedures because of the capricious labeling practices of the uploader. Noxious clients can without much of a stretch control unapproved labeling cycles and afterward distribute the photographs, which the members need them to be classified in online media.

Photography as play: examining constant photographing and photo sharing among young people

This article considers on what grounds contemporary photography may be understood as play. This is done by tracing the common characteristics of play that are revealed in the constant photographing and photo sharing among young friends through the camera-based social media application Snapchat. The arguments are built by presenting qualitative data, consisting of saved snaps and interviews, together with existing theory of play. Snapping, as it emerges from the article’s data, aptly fits in with the theoretical notion of play mainly adopted from Winnicott’s Playing and Reality (2005[1971]) and Huizinga’s Homo Ludens: A Study of the Play-Element in Culture (1998 [1949]): the aim of snapping resides in itself; it is limited in terms of time and space; it is executed according to shared rules; it is fun, playful and enjoyable; and it is different from ‘ordinary life’. Further, it reinforces friendships through indices of togetherness, intimacy and trust. The article concludes with a discussion on the advantages of understanding current photography as play and the affordances that photographs provide for that play.

Imagined Audiences, Emotions, and Feedback Expectations in Social Media Photo Sharing

The present research explores the effects of imagined audiences, emotions, and feedback expectations on social media photo sharing. We focus on the audience-oriented approach to sharing and on how discrepancies between expected and received feedback might shape photo sharing behaviors. Twenty-four participants were interviewed using scenario-based semi-structured interview method. The participants were asked to develop an imagined story about two fictional individuals who decided to share a photo on their social media. The story was guided by questions about the characters’ motivations and incentives to post and explored three alternative scenarios representing the reception of usual feedback, better than usual feedback, and the absence of expected feedback, respectively. The results indicate that individuals often adopt their audience’s perspective when choosing a photo to post, and consider whether the chosen image would evoke sufficient interest to induce feedback. The participants believed that emotional photos engaged their audience and motivated the viewers to provide feedback. Furthermore, the study identified and analyzed the concept of feedback expectations. When received feedback exceeded the expectations, individuals experienced happiness. However, the replication of successful content was considered appropriate only if accompanied by a suitable caption and posted after a period of time. When received feedback failed to meet their expectations, individuals felt disconnected from their audiences and experienced disappointment. They employed rationalization and feedback dismissal as coping mechanisms and displayed two common behavioral responses to unsuccessful feedback; they attempted to repost the photo avoiding previous mistakes, and they changed the style of content they posted.

INSTAGLISH: WHEN INSTAGRAM IS BEYOND ONLINE PHOTO-SHARING PLATFORM TO INDUCE YOUR ENGLISH

Motivated by the growth of social media throughout the globe, including in Indonesia, educational practitioners need to be creative and make use of this opportunity to boost up the learning goals, for example making use of Facebook, Twitter, Instagram, Line, and many others (social media) in educational settings. Among those social media, Instagram has increased its popularity, particularly in Indonesia, with its 22 million users. It is an online platform in which users can share their stories via uploaded photos. Recently, it is not merely used as photo story sharing but also online shopping, news updating, and video conferencing. As Instagram offers promising features, this study explored how this platform was applied to improve the students English written competence, focusing on reading and writing. This study is action research that investigates the use of Instagram as a social-and-educational medium that offers beyond new language learning experiences in the project called InstaGlish, Instagram English. The data were collected from the classroom observation during the project, students' Instagram photo posts, captions and comments, and students' reading and writing scores after project implementation. A questionnaire and direct interview to the students were also carried out to give a more thorough and deeper understanding of the students' responses toward how effective InstaGlish helps them learn and induce their English. In addition, the findings of this current study were expected to give fruitful insight on how to use social media not merely as the fun-without-meaning activity yet fun-and-meaningful new learning experiences.

USING GEO GEO-TAGGED FLICKR IMAGES TO EXPLORE THE CORRELATION BETWEEN LAND COVER CLASSES AND THE LOCATION OF BIRD OBSERVATIONS

Social media data are becoming potential sources of passive VGI (Volunteered Geographic Information) and citizen science, in particular with regard to location-based environmental monitoring. Flickr, as one of the largest photo-sharing platforms, has been used in various environmental analyses from natural disaster prediction to wildlife monitoring. In this article, we have used bird photos from Flickr to illustrate the spatial distribution of bird species in Switzerland, and most importantly to see the correlation between the location of bird species and land cover types. A chi-square test of independence has been applied to illustrate the association between bird species and land cover classes and results illustrated a statistically significant association between the two variables. Furthermore, species distributions in Flickr were compared to eBird data, and the results demonstrated that Flickr can be a possible complementary source to citizen science data.