#Major Palgrave

[crippleprophet]

hey, would you be able to give a brief description/explanation of cyborg theory in disability? I tried looking it up but didn’t find anything

absolutely! been struggling a bit with cognition so i’m just gonna paste the relevant section from my essay on disability & technology from about a year ago + the full citations of pieces i reference. hope this helps - feel free to send me a follow up ask if there’s anything else you’re looking for or with your thoughts, & folks are welcome to dm me for the full essay if you want!

One key concept employed by disability studies scholars to explore the relationship between humans and technology is that of the cyborg. Originally developed by Donna Harraway in the 1980s, the cyborg is a figure which “[blurs] the boundaries between human and animal, machine and organism, physical and non-physical” (Kafer, 2013, p.103) and in doing so allows for nuanced discussions of technology beyond the common dual responses of uncritical praise and unlimited fear. Though Harraway’s initial theorization positioned “disability as the site of spectacular technological fixing” (Kafer, 2013, p.112), feminist disability studies scholars have expanded the concept to more fully reflect disabled people’s experiences.

At their best, cyborg subjectivities prompt us to recognize—rather than dismiss—“the inequitable ways in which many people come to disability” (Hamraie and Fritsch, 2019, pp.19-20). War, poverty, pollution, and other consequences of colonisation and exploitation are major causes of impairment among marginalised communities (Meekosha, 2011; Erevelles, 2011), making concepts such as disability culture and pride difficult or undesirable for many people. Not only are the bodies of workers in the Global South disabled by the production of “assistive technology,” as discussed previously, the bodies of marginalised people, especially poor women of colour, are disabled by medical testing (Hans, 2006). While Erevelles questions the value of cyborg subjectivities in the face of these harrowing realities (2011), Kafer argues that their power lies in this very tension (2013). The cyborg, she writes, “refuses easy celebrations of human/technology connections” (Kafer, 2013, p.118) and rather encourages us to confront our complicity in the structures of oppression we seek to resist.

Erevelles, N. 2011. Disability and difference in global contexts: enabling a transformative body politic. New York: Palgrave Macmillan.

Hamraie, A. and Fritsch, K. 2019. Crip technoscience manifesto. Catalyst: Feminism, Theory, Technoscience. 5(1), pp.1-34.

Hans, A. 2006. Gender, technology and disability in the South. Development. 49(4), pp.123-127.

Kafer, A. 2013. Feminist, queer, crip. Bloomington: Indiana University Press.

Meekosha, H. 2011. Decolonising disability: thinking and acting globally. Disability & Society. 26(6), pp.667-682.

[veganism]

Fur farming is absolutely indefensible

“An Ethical Critique of Fur Factory Farming” is published today by Palgrave Macmillan as part of their forty-volume strong Animal Ethics Series.   Fur is dead, so goes the slogan. But sadly the reality the in many parts of the world, the fur industry continues to rear its ugly head and cause unspeakable pain and misery to innocent animals. Vintage fashion and emerging markets have driven a revival in fur sales, much to the despair of animals who are imprisoned and tortured for someone's vanity.

So please help publicize this book, which is a shield against any argument in defence of fur.

Purdue University ethicist, Professor Mark Bernstein describes this newly published report as providing an “unanswerable” case against fur factory farming. He continues that “Anyone even remotely thinking about buying fur, needs first to read this book.”   The study found that “the conditions in factory fur farms means it is impossible for animals farmed for their fur to express their normal species-specific behaviour. The inability to live their normal expressive life leads to behaviours known as ‘stereotypies’ and harms that include psychological stress, fur chewing, self-injury, and biting.”   Written by Directors of the Oxford Centre for Animal Ethics, Professor Andrew Linzey and Dr Clair Linzey, An Ethical Critique of Fur Factory Farming is newly published Palgrave Macmillan as part of their forty-volume strong Animal Ethics Series.   The study also found that the so-called “Welfur” system instituted by the fur industry does not prevent the infliction of major harms on animals, such as unhealed injuries, half tails, missing, and severe bent feet. The authors ask: “if fur factory farming is so animal friendly that it provides what the industry calls a ‘good’ life for animals, why should there be evidence of any injury at all?”   “The fur industry cannot have it both ways: it cannot claim to exhibit the highest standards of welfare and yet simultaneously accept that harms, sometimes major harms, can be detected on their ‘farms’. The claim that ‘Welfur’ offers protection against animal suffering is to be pusillanimous before the facts.”   The fur trade is a multimillion-pound industry worldwide. It is estimated that over 100 million animals are killed in fur farms worldwide annually. Animals farmed for their fur include mink, foxes, racoon dogs, rabbits, and chinchillas.   Bernstein also comments, “An Ethical Critique of Fur Factory Farming is especially impressive in presenting the best defence fur farming has to offer, and then showing its glaring inadequacies.”   The hundred-page report concludes that “from any ethical perspective, that takes animal suffering seriously, fur factory farming fails basic moral tests. The arguments supplied in justification are seriously flawed and or fallacious … Factory-farmed fur is a non-essential vanity product … The fur factory system is inherently inhumane. It should be prohibited by legislation.”   Fur factory farming is banned in many countries including Austria, Belgium, Croatia, Czech Republic, the Netherlands, and the United Kingdom, but is still legal in the United States, Canada, Russia and China.

[arcane-offerings]

Tom Duggett. Gothic Romanticism: Architecture, Politics, and Literary Form, Nineteenth-Century Major Lives and Letters. London: Palgrave Macmillan, 2010. Hardcover edition. 219 pages. 

Shop link in bio.

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[dreamerking27]

Borderlands! Get your work done my dear king 💕

- @jtl-fics

Hixson, Walter L. 2013. “‘A Very Particular Kind of Inclusion’: Indigenous People in the Postcolonial United States.” In American Settler Colonialism, by Walter L. Hixson, 185–95. New York: Palgrave Macmillan US. https://doi.org/10.1057/9781137374264_9.

The time period I’m interested in was right after the Red Power movement of the 1960s and 1970s; time when indigenous rights were in the public consciousness for the first time.

1974 Boldt decision marks a shift towards increased legal recognition of indigenous treaty rights

1975-2005 major indigenous rights acts passed: “the Indian Self-Determination and Education Assistance Act (1975); the Native American Religious Freedom Act (1978); the Indian Child Welfare Act (1978); the Indian Gaming Regulatory Act (1988); the Native American Graves Protection and Repatriation Act (1990); the Native American Languages Act (1990); and the Indian Tribal Energy Development and Self Determination Act (2005)” pg. 193

“successful indigenous legal challenges ultimately produced a backlash within settler society” beginning in the mid 1980s (pg. 194)

and now for the non-school stuff, you get uhhh newborn gideon angst

“I didn’t do it for you. I certainly didn’t do it for the kingdom. The only thing I know about the kingdom is its people, when they come in here and don’t listen to me and don’t listen to Ramu and get themselves killed because of it, and then blame us.” They hadn’t died all at once. “I did it for him, and only him. I don’t care about if it was a noble cause. I would do it again.”

[reposted-yura15cbx]

John Russell Brown - Shakespeare and the Theatrical Event (2002).pdf John Sutherland, Cedric Watts, Stephen Orgel - Henry V, War Criminal__ and Other Shakespeare Puzzles-Oxford University Press, USA (2000).pdf Jonathan Hart - Columbus, Shakespeare, and the Interpretation of the New World-Palgrave Macmillan (2003).pdf Jonathan Hart - Shakespeare and His Contemporaries-Palgrave Macmillan (2011).pdf Julia Reinhard Lupton, Kenneth Reinhard - After Oedipus_ Shakespeare in Psychoanalysis-Cornell Univ Pr (1993).pdf Kate Chedgzoy, Susanne Greenhalgh, Robert Shaughnessy - Shakespeare and Childhood (2007).pdf Kathryn M. Moncrief, Kathryn R. McPherson, Sarah Enloe - Shakespeare Expressed_ Page, Stage, and Classroom in S.epub Laurie Maguire - How To Do Things With Shakespeare_ New Approaches, New Essays-Wiley-Blackwell (2007).pdf Laurie Maguire - Shakespeare's Names-Oxford University Press, USA (2007).pdf Laurie Maguire - Studying Shakespeare-Wiley-Blackwell (2003).pdf Leo Salingar - Shakespeare and the Traditions of Comedy-Cambridge University Press (1976).pdf Leung Che Miriam Lau, Wing Bo Anna Tso (auth.) - Teaching Shakespeare to ESL Students_ The Study of Language Arts in Four Major Plays- (2017).pdf Lorna Hutson - The Invention of Suspicion_ Law and Mimesis in Shakespeare and Renaissance Drama (2008).pdf Lynda E. Boose - Shakespeare, The Movie II_ Popularizing the Plays on Film, TV, Video and DVD (2003).pdf Lynda E. Boose - Shakespeare, The Movie_ Popularizing the Plays on Film, TV, and Video (1997).pdf Marcus Nordlund - Shakespeare and the Nature of Love_ Literature, Culture, Evolution-Northwestern University Press (2007).pdf Marion Gibson - Possession, Puritanism And Print_ Darrell, Harsnett, Shakespeare and the Elizabethan Exorcism Controversy -Pickering & Chatto Lt.pdf Mark Thornton Burnett, Romona Wray - Screening Shakespeare in the Twenty-First Century-Edinburgh University Press (2006).pdf Martha Tuck Rozett - Constructing a World_ Shakespeare's England and the New Historical Fiction (2002).pdf Martin Lings - Shakespeare in the Light of Sacred Art-Allen & Unwin (1966).pdf Marvin Bennet Krims - The Mind According to Shakespeare_ Psychoanalysis in the Bard's Writing-Praeger (2006).pdf Maurice A. Hunt (auth.) - Shakespeare’s Speculative Art-Palgrave Macmillan US (2011).pdf Michael D. Bristol, Kathleen McLuskie - Shakespeare and Modern Theatre (2001).pdf Michael J. C. Echeruo (auth.) - The Conditioned Imagination from Shakespeare to Conrad_ Studies in the Exo-cultural Stereotype- (1978).pdf Michael Schoenfeldt - A Companion to Shakespeare's Sonnets -Wiley-Blackwell (2010).pdf N. F. Blake - Shakespeare's Non-Standard English_ A Dictionary of his Informal Language-Continuum (2004).pdf Nancy Selleck - The Interpersonal Idiom in Shakespeare, Donne and Early Modern Culture-Palgrave Macmillan (2008).pdf Nicholas Shakespeare - Inheritance-Harvill Secker (2010).epub

[vokpodcast]

VOK 828 - Agatha Christie 55 - A Caribbean Mystery

Hannah and Bina007 discuss the 1964 Miss Marple mystery set in an idyllic Caribbean holiday resort. Boring old Major Palgrave tells a tale of a man who got away with murder several times, even offering to show a picture of the man. The next day, he is found murdered. Spoiler free to 55m30s. [MP3] Download or play this episode directly[Archive]View this episode’s page on Archive.org[Discord]…

[afiqakmar]

Week 9: Digital Citizenship and Software literacy

Instagram filters have advanced significantly from the days when they could just slightly alter brightness and exposure. These days, people's cosmetic modifications are becoming excessive. I saw that the same characteristics on Instagram are always changing as I browsed through the filters and gave them a try. My face and nose are slimmer, my skin is smoother, and my lips are growing larger.

Whether they are discussing a cosmetic product or giving us an update on their day, the majority of influencers and micro-celebrities that I follow on Instagram nearly always apply a filter to themselves. It's depressing to observe how many people now accept it as the standard.

The Advertising Standards Authority in the UK banned the use of "misleading" filters to promote beauty companies due to the extent to which these filters are embellishing reality (ASA 2020). Although these are the regulations governing advertising in the UK and may not be applicable in Australia, I think this is a start in the right way to stop deceptive social media ads. "An ongoing focus of our work in this area continues to be on raising awareness of the rules and supporting influencers with the guidance and tools they need to help get their ads right," according to an ASA spokeswoman (British Beauty Council 2021). The purpose of this restriction is to prevent deceptive promotion of cosmetic product "results." Consider an influencer showcasing how flawless and streak-free a fake tan can be while utilising a filter to deepen and smooth her skin.

This week's reading brought to light the needless pressure women face to "strive for a more "perfected" picture of themselves on the internet in order to fit in with society (Coy-Dibley 2016).

In my opinion, the use of Instagram filters is distorting beneficial interactions with digital technology and enhancing reality. We can tell when something is getting out of control and preventing us from distinguishing between what is genuine and what is enhanced when the ASA needs to create laws to outlaw the use of filters.

References

ASA, 2021, We Are Luxe Ltd t/a TANOLOGIST TAN, in association with Cinzia Baylis-Zullo, viewed 18 June, 2024, https://www.asa.org.uk/rulings/we-are-luxe-ltd-t-a-tanologist-tan-in-association-with-cinzia-baylis-zullo.html

BBC, 2021, Influencers told not to use 'misleading’ beauty filters, viewed 19 June, 2024, https://www.bbc.com/news/uk-england-55824936

Coy-Dibley, I 2016, ‘ “Digitized Dysmorphia” of the female body: the re/disfigurement of the image’, Palgrave Communications, vol. 2, no. 1, pp. 1-9.

News, C 2021, The (mis)use of social media beauty filters when advertising cosmetic products, viewed 19 June, 2024, https://www.asa.org.uk/news/the-mis-use-of-social-media-beauty-filters-when-advertising-cosmetic-products.html

[lboogie1906]

Miriam Esther Jiménez Román (June 11, 1951 - August 6, 2020) professor, editor, archivist, curator, social theorist, author, and activist was born in Aguadilla, Puerto Rico to Arcelia Román Ruiz, and Baldomero Jiménez Font. The family migrated to East Harlem where her sisters were born.

A Saxtons River Project participant, she studied with internationally recognized Black sculptor John Torres at Vermont Academy. She graduated from Manhattan’s High School for Art & Design where she published insightful short stories for Prism and majored in illustration and advertising art. She attended the University of Vermont and transferred to Binghamton University to complete a BA in Sociology while spending a year at the University of Puerto Rico–Rio Piedras. She returned to Binghamton to complete the doctoral sociology coursework.

She moved to Puerto Rico to cofound the feminist collective Encuentro de Mujeres and was Assistant Director of External Resources at InterAmerican University. She authored dozens of seminal works that challenged racial democracy, along with editing CENTRO: Journal of Puerto Rican Studies. Her experiences as a Black Puerto Rican helped bring awareness of Afro-Latinidad and build coalitions with US Blacks. She asserted, “African Americans have always been in the vanguard. Everything worthwhile in this country has come about because African Americans have pushed it. We all benefit every day, white people as well as people of color, from the struggles of African Americans.”

She taught innovative courses on Afro-Latinidad as a visiting professor at Binghamton, Brown, Columbia, and New York universities. The Afro-Latin@ Reader: History & Culture in the United States won the American Book Award. She co-founded and edited the Palgrave Macmillan Afro-Latin@ Diasporas book series and helped organize the Black Latinas Know Collective to promote and mentor Afro-Latina intellectuals who study Blackness and Latinidad. She married scholar Juan M. Flores (2000-2014). #africanhistory365 #africanexcellence

[bimonmedia]

Everybody is wearing masks on social media

Sapo: When was the last time you posted an unfiltered photo on Instagram?

1. Beauty filter popularity on Instagram, Snapchat, and Tiktok

In the present digital era, augmented reality (AR) has invaded social media platforms, changing the way users interact with their online personas. One major component of AR technology is the widespread usage of filters, particularly beauty filters, which have gained enormous popularity across platforms such as Instagram, Snapchat, and, more recently, TikTok. These AR filters allow users to change their appearance in real time, improving features while masking perceived flaws (Barker 2020). Beauty filters, whether used to smooth skin texture, enlarge eyes, or slim faces, allow people to create an idealized picture of themselves for public consumption (Barker 2020). The proliferation of these filters demonstrates society's obsession with meeting false standards of beauty and flawlessness (Barker 2020).

Filters frequently follow beauty trends and encourage ideals propagated by the cosmetics industry. While some women use filters to create a polished image, others have mixed sentiments about their inherent attractiveness. Furthermore, not all filters are well-received; some users complain that makeup-centric filters promote unsuitable standards, such as skin whitening (Barker 2020).

Beyond makeup-focused designs, some filters unintentionally modify facial features in unanticipated ways. For example, animal-themed filters may expand users' eyes while reducing other features, adhering to stereotyped feminine proportions. Filters can reinforce messages of social desirability and perfection for women who use digital adornment to explore their individuality and self-expression. Some users feel detached from their natural appearance and compare the filter experience to cosmetic surgery or virtual assault.

2. The digital-forensic gaze

The term ‘digital-forensic gaze’ refers to the way and practices of observation that assume social media photos are filtered, as well as the emotional context that supports this observation (Lavrence & Cambre 2020). These forms of examination increase self-objectification and teach people to study photos of themselves and others more critically, wondering what has been or could be ‘altered’ or ‘edited’ (Lavrence & Cambre 2020). According to studies, while using filters can be fun and pleasurable, it also causes significant anxiety for cisgender women who are concerned about living up to their online personas. Thus, power and pleasure interact in the transforming nature of filters, as well as the shaping and reshaping of meaning in the context of selfie culture.The digital-forensic gaze complicates the situation as users traverse the fuzzy distinctions between reality and virtuality (Lavrence & Cambre 2020). Individuals portray highly managed versions of themselves online, leaving viewers to determine the legitimacy of their digital personas. The pressure to conform to beauty standards propagated by filters creates a loop of comparison and insecurity, developing a culture obsessed with validation and social acceptability (Lavrence & Cambre 2020). The extensive use of beauty filters on social media platforms reflects society's overall focus on looks and approval. While these filters allow for self-expression and empowerment, they also reinforce harmful stereotypes and contribute to the objectification of persons (Barker 2020).

References list

Barker, J 2020, ‘Making-up on mobile: The pretty filters and ugly implications of Snapchat’, Fashion, Style & Popular Culture, vol. 7, no. 2, pp. 207–221.

Carah, N & Dobson, A 2016, ‘Algorithmic hotness: Young women’s “promotion” and “reconnaissance” work via social media body images’, Social Media + Society, vol. 2, no. 4, pp. 1–10.

Coy-Dibley, I 2016, ‘“Digitized Dysmorphia” of the female body: the re/disfigurement of the image’, Palgrave Communications, vol. 2, no. 1.

Dijkslag, IR, Irene, G, Ketelaar, P & Block Santos, L 2024, To Beautify or Uglify! The Effects of Augmented Reality Face Filters on Body and Face Satisfaction Moderated by Self-Esteem and Self-Identification, Social Science Research Network, Rochester, NY, viewed 15 March 2024, <https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4753653>. 

Lavrence, C & Cambre, C 2020, ‘“Do I Look Like My Selfie?”: Filters and the Digital-Forensic Gaze’, Social Media + Society, vol. 6, no. 4, p. 205630512095518.

[vixen-experience-of-mda20009]

Week 8 of Mda20009: Face filters

Most humans want to be perfect, as beautiful as they can be, it is one of the unique traits of humans. That is why filter exists, they are made so that people can alter their image online, to give strangers the illusion of perfection and beauty, forced on them by societal standards. Given what society expects of women to become perfect, “a battlefield of diverging concepts” (Coy-Dibley 2016, p. 2). It makes sense that so many people struggling with severe body dysphoria over their appearance, while other people may end up changing their bodies permanently as a result of these "quick fixes”. To desperately make their online persona look better, for example when social distancing started, the usage of face filters have sky-rocketed, some apps even surpassed 20%. And right now, filters are already included in a lot of social networking platforms, and even editing software have multiple filters already built-in like adobe premiere and photoshop, so they are basically free to those who know where to find them.

Not even significant adjustments are required; a small reduction in waist circumference or a mild smoothing of the pores would do. Dysphoria is the result of an increasing distance between a person's idealized, digitally augmented self or their "online persona" and their true self. This is very unhealthy since it can cause numerous mental diseases and issues. The likelihood of experiencing mental health issues and disorders, such as body dysmorphic disorder, eating disorders, anxiety, sadness, and OCD-related issues, also rises (Rodulfo, 2020). Most of the media that we consume has been altered in some way, especially on social media, where the majority of celebrities and influencers edit their photos before posting them.

Since we are aware that most of what we see isn't "real," why does it still have such an impact on us? That is the one question I cannot answer for you.

References

Coy-Dibley, I 2016, ‘Digitized Dysmorphia of the female body: the re/disfigurement of the image’, Palgrave Communications, vol. 2, no. 16040, p. 2

Miller, L 2021, ‘Week 7. Face filters’, MDA20009 Digital Communities, Learning materials via Canvas, Swinburne University of Technology.

Rodulfo, K 2020, It’s easier than ever to make a new face on social media. But is it killing your confidence?, Women’s Health Magazine, <https://www.womenshealthmag.com/beauty/a33264141/face-filters-mental-health-effect/>.

[georgiafitzsimons]

Major Project FMP - Narrative theory evaluation - LO1 - LO3 - LO4

From my study skills with Ben he pointed me in the direction of a powerpoint showcasing some narrative theories to consider/look into.

•BROOKS, PETER, 1984, Reading for the Plot, Oxford, Oxford University Press.

•LACEY, NICK, 2000, Narrative and Genre, Palgrave

Taking this reference from the powerpoint I went and did extra research in the library on Todorov

In my exploration, I conducted a comparison between Brookes and Todorov's narrative theories in relation to the song, seeking to identify which theory proved more successful in capturing its essence. I found that Brookes' theory posed challenges in comprehension, primarily due to the usage of terms like 'action.' The intricacies of the song lie in subtle emotional shifts rather than overt actions, making Todorov's framework more suitable for dissecting the nuanced components of the narrative.

After my initial attempt to apply narrative theory, I revisited the process, this time honing in on Todorov's narrative theory to conduct a more detailed analysis. This approach aimed to provide deeper insights and a refined understanding of the narrative structure.

[dearbaongoc]

Face Filters, Body Dysmorphic Disorder and Self-Image

Social media has increased the emphasis on creating a perfect online image. Most people intend to appear attractive, stunning, and impressive online, and many use face filters to help them reach this objective. According to Herrington (2019), face filters use Augmented Reality (AR) technology to create a "digital mask," which adds virtual features to a person's face or surroundings. These filters primarily come from built-in alternatives on social networking sites such as Instagram and beauty app filters like Perfect365 (Miller & McIntyre, 2022). 

The use of filters on social media has not only risen in recent years but has also become widespread. Face filters, in fact, can increase users' satisfaction when using social media. These filters may enhance a person's physical appearance based on their beauty standards (Arrouf, 2018) or hide their identity using identified filters. According to Coy-Dibley (2016), changing one's self-image might give people a sense of liberation or relief that they can embody impossible social ideals. Furthermore, employing these modifying features enables people to express themselves online rather than in more permanent ways artistically (Coy-Dibley, 2016). 

However, face filters have a major impact on influencers. According to Rivas (2024), influencers who use social media filters often feel more concerned, less confident, and physically less attractive than those who do not. Influencers suffering from body dysmorphic disorder (BDD) think there is something wrong with their appearance.  Digital dysmorphia is on the spectrum as Body Dysmorphic Disorder, but it is influenced by cultural expectations and beauty ideologies, as well as the technology accessible to achieve these standards (Coy-Dibley, 2016). Digital Dysmorphia is a condition in which women consider their bodies as imperfect in reality and so digitally edit their photographs to address these perceived defects (Coy-Dibley, 2016). It becomes a fixation, an intense worry that frequently leads to anxiety, social isolation, and the need for cosmetic surgery (Haines, 2021). They are considering obtaining plastic surgery to produce a filtered look-alike version of themselves for social media (Rivas, 2024). In addition, female influencers desire surgery based on the filters they use (Haines, 2021). 

In the past, people frequently underwent cosmetic surgery to imitate their idols' looks. However, these days, more and more people choose cosmetic surgeons to change their appearance to resemble their filtered versions (Hosie, 2018). As in the video, Marla explained that she opted for plastic surgery because she was tired of constantly editing her photos. She wanted to become the image she truly desired without relying on editing. Additionally, having surgery would save her time spent editing photos. Marla mentioned that while beauty filters may make people happy initially, once they are removed and reveal one's natural face, individuals often become more self-conscious and are more likely to experience low self-esteem.

In conclusion, using filters on social media to change how we look has become really common. It is fun and lets us be creative, but it also makes some people feel bad about themselves. Some social media users might feel pressured always to look perfect, which can mess with their confidence. Some even consider getting surgery to look like their filtered photos. But in the end, relying too much on filters might make us forget to love ourselves just as we are. So, it is important to consider how filters affect us and what really matters: being happy with who we are, not just how we look online.

References

Arrouf, E. (2018, February 27). ON THE RADAR: Meitu, world’s #1 Beauty App. Www.linkedin.com. https://www.linkedin.com/pulse/radar-meitu-worlds-1-beauty-app-emilie-arrouf/

Coy-Dibley, I. (2016). “Digitized Dysmorphia” of the female body: the re/disfigurement of the image. Palgrave Communications, 2(1). https://doi.org/10.1057/palcomms.2016.40

Haines, A. (2021, April 27). From “Instagram Face” To “Snapchat Dysmorphia”: How Beauty Filters Are Changing The Way We See Ourselves. Forbes. https://www.forbes.com/sites/annahaines/2021/04/27/from-instagram-face-to-snapchat-dysmorphia-how-beauty-filters-are-changing-the-way-we-see-ourselves/?sh=5c82b07d4eff

Herrington, J. (2019, November 20). Face Filters for Instagram and Snapchat Are the New Frontier of Surrealist Art. OneZero. https://href.li/?https://onezero.medium.com/the-power-of-face-filters-as-augmented-reality-art-for-the-masses-65a95fb4a577#:~:text=AR%20%E2%80%9Cface%20filters%E2%80%9D%20%E2%80%94%20a

Hosie, R. (2018, February 6). People want to look like versions of themselves with filters rather than celebrities, cosmetic doctor says. The Independent. https://www.independent.co.uk/life-style/cosmetic-surgery-snapchat-instagram-filters-demand-celebrities-doctor-dr-esho-london-a8197001.html

Miller, L. A., & McIntyre, J. (2022). From surgery to Cyborgs: a thematic analysis of popular media commentary on Instagram filters. Feminist Media Studies, 23(7), 1–17. https://doi.org/10.1080/14680777.2022.2129414

Rivas, G. (2024, January 22). The Mental Health Impacts of Beauty Filters on Social Media Shouldn’t Be Ignored — Here’s Why. InStyle. https://www.instyle.com/beauty/social-media-filters-mental-health

[vudinhlam]

 Week 6: Social media influencers and slow fashion movements

Over the past few years, a great deal of research and documentation has been done on the social and ecological effects of the fashion business. Across its whole life cycle, it is acknowledged as one of the most polluting industries. Historically, up until around 20 years ago, there were two collections made year (Spring/Summer and Autumn/Winter); these days, trend cycles have accelerated, with between 50 and 100 mini collections hitting the market annually (Domingo, 2022). Some of leading company like Zara, H&M are capitalized on fast fashion model, create the greatest quantity of stylish clothing in the shortest amount of time so that customers can keep up with the quick and constantly shifting trend cycles and want to purchase more goods (Ting chi, 2021). Which it led to a hazardous effect on people and polluting the world. Slow fashion is the answer and solution to the issue of pollution and any hazards that effect on human. As it emerges as a sustainable consumption movement and the opposite of fast fashion. Slow fashion aims to slow down the present fashion life cycle by creating no more than four lines each year, emphasizing quality over quantity, and not using mass production (Lai, 2017, p. 82). To make the slow fashion do well, it needs to gain attention from the public and this is where the social media steps in. Social media influencers can be employed as a powerful advertising strategy to close the communication gap between advertisers and consumers about sustainability issues, even if businesses can also utilize social media to directly address these issues (Jacobson, 2022). Influencers like @aditimayer on Instagram with over 90k followers, have a major influence in fashion and an idea for the slow fashion campaign. Slow fashion for now still has a long way to go to gain popularity and recognition in the fashion world. But with collaboration with social media influencers and spread awareness about how fast fashion creates pollution, the public will change their mind and pursuit the slow fashion soon.

Reference:

 Domingos, Mariana, Vera Teixeira Vale, and Silvia Faria. (2022). "Slow Fashion Consumer Behavior: A Literature Review" Sustainability 14, no. 5: 2860. https://doi.org/10.3390/su14052860

 Jenna Jacobson & Brooke Harrison (2022) Sustainable fashion social media influencers and content creation calibration, International Journal of Advertising, 41:1, 150-177, DOI: 10.1080/02650487.2021.2000125

 Ting Chi, Jenisha Gerard, Yuhfen Yu & Yuanting Wang (2021) 'A study of U.S. consumers’ intention to purchase slow fashion apparel: understanding the key determinants', International Journal of Fashion Design, Technology and Education, 14:1, 101-112, DOI: 10.1080/17543266.2021.1872714

 Zhen Lai, Claudia E. Henninger and Panayiota J. Alevizou ‘An Exploration of Consumers’ Perceptions Towards Sustainable Fashion – A Qualitative Study in the UK’, in Sustainability in Fashion A Cradle to Upcycle Approach, edited by Henninger, C.E., Alevizou, P., Goworek, H., Ryding, D. (Palgrave: 2017)

[v1821anna]

🌿 Navigating the Shift to Slow Fashion: A Conscious Choice for a Sustainable Future 🌍

In an era dominated by the rapid turnover of fast fashion, a more thoughtful and sustainable approach is gaining traction. Slow fashion isn't just about style; it's about making informed, ethical choices that resonate with our values as digital citizens. Let's delve deeper into the impacts of fast fashion and the transformative power of the slow fashion movement.

The Environmental Toll of Fast Fashion 🏭

Fast fashion's environmental impact is staggering. The industry is a major contributor to water pollution, with toxic dyes and chemicals from textile factories jeopardizing aquatic ecosystems and human health (Brewer, 2019). Furthermore, the production of synthetic fibers like polyester, a staple in fast fashion, introduces microfibers into our oceans, affecting marine life and potentially entering our food chain (Brewer, 2019).

The Ethical Imperative of Slow Fashion 🌿

The slow fashion movement advocates for a holistic approach to fashion, emphasizing environmental sustainability, ethical labor practices, and quality craftsmanship. Henninger et al. (2017) highlight the necessity of a circular economy in fashion, where resources are reused and recycled, minimizing waste and promoting sustainability. This paradigm shift challenges the industry's status quo, advocating for a future where fashion respects both people and the planet.

Influencers: Catalysts for Change 📱

Social media influencers have a pivotal role in shaping consumer perceptions and driving the slow fashion narrative. Their platforms can spotlight ethical brands, share sustainable fashion tips, and encourage followers to reconsider their fashion consumption habits (Lai et al., 2017). By aligning with the slow fashion ethos, influencers can inspire a broader audience to embrace sustainable practices, creating a ripple effect of positive change.

Consumer Perspectives and Accountability 👚

Understanding consumer perceptions is crucial in advancing the slow fashion movement. Lai et al. (2017) explore the diverse attitudes towards sustainable fashion, emphasizing the need for greater consumer education and awareness. As consumers become more informed, they are more likely to prioritize sustainability in their purchasing decisions, driving demand for ethical and eco-friendly fashion options.

Joining the Slow Fashion Revolution 🌍

Embracing slow fashion means choosing quality over quantity, valuing the craftsmanship behind each garment, and understanding the story of its production. It's a commitment to making fashion choices that align with our values of sustainability and ethical responsibility.

In Conclusion: Your Fashion, Your Impact 🌟

The shift to slow fashion is more than a trend; it's a movement towards a more sustainable world. By supporting slow fashion, we contribute to a healthier planet, promote fair labor practices, and foster a fashion industry that aligns with our values. #week6 #mda20009 #SlowFashion #EcoChic #Sustainability #ConsciousConsumerism

References 📚

Mark K. Brewer, ‘Slow Fashion in a Fast Fashion World: Promoting Sustainability and Responsibility’, Laws 2019, 8(4), 24

Claudia E. Henninger, Daniella Ryding, Panayiota J. Alevizou and Helen Goworek, ‘Introduction’ Sustainability in Fashion A Cradle to Upcycle Approach, edited by Henninger, C.E., Alevizou, P., Goworek, H., Ryding, D. (Palgrave: 2017).

Zhen Lai, Claudia E. Henninger and Panayiota J. Alevizou ‘An Exploration of Consumers’ Perceptions Towards Sustainable Fashion – A Qualitative Study in the UK’, in Sustainability in Fashion A Cradle to Upcycle Approach, edited by Henninger, C.E., Alevizou, P., Goworek, H., Ryding, D. (Palgrave: 2017)

World Wildlife Fund. (2019). Sustainable Agriculture: Cotton.

[blancvu]

Week 5:  What is Digital Citizenship? Hashtag Publics, Political Engagement and Activism.

Digital citizenship has emerged as a key idea in our connected society, emphasizing the ethical use of technology and the internet. To participate in online communities ethically, one must develop a set of abilities and principles. Concurrently, the emergence of hashtag publics has transformed the terrain of political involvement and activity, offering a forum for worldwide dialogue and coordinated efforts.

To be more precise, The way activists are organized and approach their work has changed as a result of the use of modern technologies in activism.According to Vromen, the trend in advocacy has shifted from people aligning with organizations to more individualized, case-by-case ad hoc participation. When organizations and other activists use narrative-based storytelling arguments to appeal to a feeling of moral urgency, activists are more likely to get involved with current concerns (2017).

Hashtag publics are dynamic social media communities where people congregate around certain hashtags to exchange and discuss material about a given subject. This effect is especially noticeable in activism and political involvement. The US presidential election of 2016, when the nominations of Donald Trump and Hillary Clinton provoked heated conversations centered around hashtags, provides an engaging case study.

Hashtags like #Trump2016 and #ImWithHer served as rallying grounds for supporters during this election, influencing the political conversation on social media sites like Twitter. Hashtags were used by activists to spread information, rally support, and foster a feeling of community. During a crucial period, the simplicity with which hashtags could be shared information was crucial in influencing public opinion and promoting political participation.

According to Boxell et al. (2018), Trump's margin of victory in the 2016 presidential election was much lower among demographic groups who were more likely to utilize social media or the internet. In fact, older white voters in rural regions without college degrees provided Trump with the largest base of support—these individuals are also among the least likely to use social media regularly. Moreover, social media material, especially on Twitter, has a disproportionately left-leaning viewpoint. According to estimates from the Pew Research Center, 80% of Twitter users strongly disapproved of President Trump in 2018, with 60% of users identifying as Democrats and only 35% as Republicans (Pew 2019a, 2019b). To sum up, the convergence of political action, hashtag publics, and digital citizenship demonstrates the revolutionary potential of the digital era.

reference list:

Reference list

Beckwith, D 2019, United States Presidential Election of 2016 - Conventions | Britannica, Encyclopædia Britannica, viewed 30 January 2024, <https://www.britannica.com/topic/United-States-presidential-election-of-2016/Conventions>.

Boxell, L, M Gentzkow and J M Shapiro (2018), “A Note on Internet Use and the 2016 U.S. Presidential Election Outcome”, PLOS ONE 13(7): 1–7.

NW, 1615 LS, Suite 800Washington & Inquiries, D 20036USA202-419-4300 | M-8-8 | F-4-4 | M 2019, Small Share of U.S. Adults Produce Majority of Political Tweets, Pew Research Center - U.S. Politics & Policy, viewed 2 February 2024, <https://www.pewresearch.org/politics/2019/10/23/national-politics-on-twitter-small-share-of-u-s-adults-produce-majority-of-tweets/>.

Vromen, A 2017, Digital Citizenship and Political Engagement The Challenge from Online Campaigning and Advocacy Organisations, 1st edn, Palgrave Macmillan, London.

[harangwook]

Week 5 - What is Digital Citizenship? Hashtag Publics, Political Engagement and Activism

Digital citizenship is a concept that encompasses the abilities and expertise to use digital technology for positive social participation, communication, content creation, and consumption. With the rise of social media and communication platforms, individuals now have the opportunity to engage in public discourse and share their thoughts on various issues (Choi & Cristol 2021, p. 362). This phenomenon, known as platformization, has transformed how people interact, engage, and consume content in the digital world (Vromen 2017).

Platformization refers to the dominance of digital platforms in different aspects of our lives, including social interaction, commerce, and communication. Major platforms like social media networks, e-commerce websites, and online service providers have reshaped the way we communicate and engage with society. This shift has also brought about significant challenges related to data privacy, market dynamics, and regulatory frameworks (Helmond 2015).

Through the power of hashtags and social media platforms, individuals can connect with others worldwide, raising awareness about important events or issues. Hashtags have become a symbol of public debate and political engagement on platforms like Twitter. They serve as a rallying point for communities to come together and discuss topics of interest, such as #blacklivesmatter and #feminism (Edwards et al. 2021).

The impact of digital citizenship and platformization on politics is evident, as seen in the 2016 US election. Social media played a crucial role in reaching younger voters and conveying campaign messaging. Political parties now prioritize authenticity, recognizing the influence of social media on public opinion. The emergence of digital citizenship has altered the way we engage with politics, allowing politicians to utilize digital platforms to their advantage (Enli 2017).

While platformization has brought numerous benefits, the platform economy has a darker side. Big tech platforms often dominate markets, controlling platform producers and owners. This can create challenges for smaller players relying on larger platforms for distribution and user access. For instance, in the music streaming market, Spotify competes with Apple Music but has to navigate Apple's App Store, which gives Apple a competitive edge.

References

Choi, M & Cristol, D 2021, ‘Digital Citizenship with Intersectionality Lens: Towards Participatory Democracy Driven Digital Citizenship Education’, Theory Into Practice, vol. 60, no. 4.

Edwards, E, Ford, S, Gajjala, R, Murray, PR & Bhatia, KV 2021, ‘Shaheen Bagh: Making sense of (re)emerging “Subaltern” feminist political subjectivities in hashtag publics through critical, feminist interventions’, New Media & Society, vol. 26, no. 1, pp. 3–165.

Enli, G 2017, ‘Twitter as arena for the authentic outsider: exploring the social media campaigns of Trump and Clinton in the 2016 US presidential election’, European Journal of Communication, vol. 32, no. 1, pp. 50–61.

Helmond, A 2015, ‘The Platformization of the Web: Making Web Data Platform Ready’, Social Media + Society, vol. 1, no. 2, pp. 1–11.

Vromen, A 2017, Digital Citizenship and Political Engagement, Palgrave Macmillan UK, London.

#mda20009