Image: E-Safety Commissioner, 2108, https://beconnected.esafety.gov.au/pluginfile.php/69186/mod_resource/content/1/t26_c4_a1_p1.png, Australian Government, https://beconnected.esafety.gov.au/topic-library/social-media-apps/introduction-to-instagram/what-is-instagram, accessed:28.08.2022.
BCM111: 3/3 FINAL BLOG POST TOPIC
Question: Discuss one social media platform and the way you use it to present a sense of self (whether that is a self that is curated and selective – a persona – or one that is more authentic). What affordances of the platform allow you to express this self on social media? Are there things this platform can do in establishing your sense of self that other platforms can’t? Is there an intended audience for this self? What audience(s) do you think would find your social media presence accessible? (think domestic and international) Remember to refer to at least two academic sources.
I was formally introduced to Instagram in 2020 but, when we met it was love at first like, instantly! We knew who was dominant and who would submit; the boundaries were clear. We were not friends, but there would be benefits! It was casual, no strings attached at first… well, that’s what I thought. Instagram became my social platform visual journal. It was my personal, though not private, instant electronic diary of my thoughts about intersectional art, environment, philosophies and Indigenous cultural revitalisation. I gave my heart over to the Gram; Instagram gave to me too (Lyon, 2002; Kawahata et al, 2014; Sepas et al, 2021; Shaw 2017).
As a novice, I had to learn about the home screen, that continuous feed of content by other users, but their relationship with Instagram did not make me jealous; it made my love grow. Having access to their posts, liking and commenting, I felt I was virtually a part of a community. They got me! Which in turn made me love those I followed, even more. Having somewhere to store my naive, photo-video creative philosophies safely and instantly with my followers, was another layer, beyond my wildest dreams (E-Safety Commissioner, 2017; Kawahata et al, 2014; Sepas et al, 2021; Shaw 2017).
Instagram gave me so much: a seemingly endless list of contemporary Indigenous and non-Indigenous, Australian and international artists to follow, art galleries, opportunities, groups and organisations who were all about the art. Looking for artists to follow, felt like stalking at first but soon I was in social platform heaven. Down the rabbit hole I skipped! I was able to become a follower to some of the great contemporary artist-philosophers of our times and sometimes they followed me back! Although, I didn’t know where the relationship was going at the time (Lyon, 2002; Kawahata et al, 2014; Sepas et al, 2021; Shaw 2017).
When my performative character Sister GlitterNullius was first introduced on Instagram and I started to get real-world art gigs, suddenly, there were three of us in the relationship. We went hand in hand. When the honeymoon was over, we got down to work, together. We could do this three-way arrangement and set about developing my professional profile as an emerging artist. I learned to focus my posts on my art practice, add links in my bio, post stories, hashtags and even became brave enough to post my artwork. I have a growing niche audience, however small, and instant access to the most up-to-date industry information and opportunities that other platforms don’t present as cohesively (E-Safety Commissioner, 2018; Kawahata et al, 2014; Sepas et al, 2021; Shaw 2017).
This meant I had to commit to my relationship with Instagram in order to keep Sister GlitterNullius afloat until she could fly! I stumble through my technophobia, fumble through the various social platforms and have begun to etch out a little networked-family for my art practice, fronted by, the inimitable Sister GlitterNullius. I use a variety of engagement strategies across the different platforms: YouTube for creative teaser and documentation videos, LinkedIn, a professional profile page, Facebook for connecting with family, friends and art, a blog site for in depth engagement with my work but my heart belongs to Instagram (Kawahata et al, 2014; Sepas et al, 2021; Shaw 2017).
I have given myself over to my digital profile, metadata feeding the algorithms, the intellectual property and creative content thieves, website slugs and hooks, blog site hacking, all for my true loves, art and Sister GlitterNullius. They say, love conquers all, right (Lyon, 2002; Kawahata et al, 2014; Orlowski, 2020; Shaw, 2017; Sepas et al, 2021; Zuboff, 2019)?
Thanx for popping by!
Your Friend, In & Out of Plastix,
Juundaal Strang-Yettica #8801112
Esafety Commissioner, 2018, What is Instagram?, Australian Government, https://beconnected.esafety.gov.au/topic-library/social-media-apps/introduction-to-instagram/what-is-instagram, accessed: 27.08.2022.
Lyon, David, 2002, Everyday Surveillance: Personal Data & Social Classifications; Information, Communication & Society, Iss.5, No.2, p.242-257, Taylor & Francis, accessed: 04.04.2022.
Kawahata, Yasuko; Etsuo, Genda; Akira, Ishii, 2014, ‘Consideration of Reputation Prediction of Ladygaga Using the Mathematical Model of Hit Phenomena, The International Journal of Multimedia Applications (IJMA), Vol.6, No.1, p.85-92, https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3788870, accessed: 31.08.2022.
Orlowski, Jeff (Dir.) & Rhodes, Larissa (Prod.), 2020, The Social Dilemma, Production: Exposure Labs, Argent Pictures & The Space Program, Documentary/Docudrama, 94:00mins, Distribution: Netflix, https://www.youtube.com/watch?v=uaaC57tcci0, accessed: 28.08.2022.
Shaw, Adrienne, 2017, ‘Decoding & Encoding Affordances: Stuart Hall & interactive media technologies’, Media, Culture & Society, Vol.39(4), p.592-602, Crosscurrents, Sage Publications, DOI: 10.117710163443717692741, accessed: 28.08.2022.
Sepas, Ali; El-Hussuna, Alaa; Atici, Semra D; Yang, Wah, 2021, ‘The Association Between Problematic Instagram Use, Psychological Distress, & Wellbeing: A Systematic Review & Meta Analysis’, p.1-51, papers.ssrn.com, https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3956428, accessed: 31.08.2022.
Bennett, Lucy, 2014, ‘If we stick together we can do anything’: Lady Gaga, fandom, philanthropy & activism; Celebrity Studies, Vol.5, Iss.1-2, p.138-152, accessed: April-May 2022.
O’Shaughnessy, M, 2012, Globalisation in Media & Society, p.458-471, Oxford University Press, England, accessed: 08.2022.
Pontes, Halley M, 2017, Social networking disorder: Investigating the differential effects of social networking addiction & internet gaming disorder for psychological health, Journal of Behavioural Addictions, AK Journals, Vol.6, Iss.4, p.601-610, accessed:04-05.04.2022.
Zuboff, Shoshana, 2019, ‘Surveillance Capitalism & the Challenge of Collective Action’; New Labor Forum, Vol.28(1), p.10-29; The Murphy Institute, City University of New York, New York, NY.
Images & Videos:
Image: Esafety Commissioner, 2018, https://beconnected.esafety.gov.au/pluginfile.php/69186/mod_resource/content/1/t26_c4_a1_p1.png, Australian Government, https://beconnected.esafety.gov.au/topic-library/social-media-apps/introduction-to-instagram/what-is-instagram
Screenshot Image: Instagram Post, @Juundaal, 08.08.2020, accessed: 31.08.2022.
Video: Golland, Karen, 2022, (video), https://youtube.com/shorts/XUCWHqdRA84, Instagram Post, @Juundaal, 29.06.2022, accessed: 02.09..2022.
Video commission by Cementa Inc (2022) for Cementa22 Festival. Video Artist: Sam James. Filmed on Dabee-Wiradjuri Country, Kandos NSW, Cementa22 Festival: Sister GlitterNullius Video Artist: Sam James, 2022.
Image: Free Instagram Followers Generator 2019, https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQcI19z5KbQgvkTDBw0i4VtgIKFbE0BXk2gUaH-mjgf1nv5TF-bFodK9Lwhy4–CmjZsC8&usqp=CAU