#social interactionism

[erving-goffman]

i got 86 on the introduction/plan for my big incest final paper what a relief (the prof said usually students do better on the final so i surely should get an A). what i was most worried about was justifying the topic + establishing its boundaries within the paper and apparently i did well on both counts

[mosviqu]

sociology is one of the stupidest majors and anyone telling u otherwise is lying

[revisesociology]

Sociological Perspectives on The TikTok Reselling Trend 

Reselling is when people buy cheap goods from one retailer and then sell them on at a higher price for profit. Reselling is one of the latest trends on TikTok.  One such TikToker is a guy named Sam. He started out with buying branded clothing from charity shops and then selling them online for a profit. More recently he has been buying cheap products in bulk from supermarkets and selling them…

[askanonbinary]

I'm trans. My three best friends are cis women, and they have been nothing but accepting and loving towards me and my identity. The fact that you constantly shit on cis people, thining you're doing good for the trans community, is disgusting. Stop it.

Who is shitting on supportive cis people, anon? Can you link me to these posts?

A note though: It is important to discuss social trends and groups through generalizations. Social oppression and harm happens to groups and in groups and from groups, and thus it's important to be able to discuss it so social change can occur too. Discussions of the macro (or larger societal big picture stuff) are not discussions of the micro (or individual actions). However, any good sociologist will tell you: these two things are connected. Social interactionism teaches us that society and individuals have a symbiotic relationship. In other words: we create society, and in turn society creates us.

Supportive cis people are SO important because they are social change. Discussing how "cis people," the macro group, hurt "trans people," the macro group does not stand in opposition to cis people, the micro individuals, that work to help trans people, the micro individuals. Those micro individuals do, however stand in defiance and a force of change to those macro trends. Thus, it is important to discuss both of these and good cis allies should appreciate this discussion. Cis allies who feel threatened by discussion of the macro trends they are fighting against are not really dedicated to fighting these trends because the trends cannot be fought without being named and discussed.

So please, link me to posts in which micro individuals are being shit on, but please be aware of why we discuss macro trends on this blog.

-Mod Zoe Leo

[catwouthats]

I didn’t want to post anything Loki related bc I don’t like promoting Disney shit after what they did (FUCK DISNEY! they donated 2 mil to Israel. So, don’t give them money y’all), yet somehow this is RELEVANT for social issues???

Basically

Mobius- Structural Functionalism

Sylvie- Conflict Theory

Loki- Symbolic Interactionism

But Loki and Mobius flip flop a little.

If you know sociology, this probably just damaged you emotionally. If you don’t know sociology, you are probably confused. Let me explain. Also I have more I want to say about what this all means. (SEASON 2 EPISODE 6 SPOILERS)

Structural Functionalism- Basically, things like institutions (schools, prisons, etc), roles (what you are expected to do), rules, and strict control are seen as important to hold society together. Each part is needed for the system to survive (else something else will try to take the broken system’s/part’s place… usually messy. Thinks break/slow.)

Conflict Theory- A lower class is oppressed by the upper class. Belief that the systems in place are made to oppress those who don’t have the power

Symbolic Interactionism- seeks to understand relationships between people. The importance of them on an individual level. Why and how one’s personal circle affects how they interact with the world as a whole. focusing on the symbols that help us give meaning to the experiences in our life. Symbols are subjective. Everyone has a different interpretation. The meanings of these symbols can change.

Mobius- Was devoted to TVA (institution). Generally interested in how to use the system as it is. Likes the structure and set up (until later?). Doesn’t question authority (until others do. Follows norms and peer pressure). Did not want to know who he was a while (against social norms in his society that was the TVA institution)

Sylvie- TVA oppressed her all her life. She’s interested in all the people wronged by imbalanced power that is the TVA (herself and everyone along branching times). Interested in equality. Mad at bourgeois (She is passionate and didn’t know as much as Loki —WHO WAS FUCKING TIME SLIPPING SO OFC IT MADE MORE SENSE TO HIM— so ofc she gets mad and makes “rash decisions” bc in her eyes they are logical.)

Loki- Personal. Think “Why?” Questions. Why did He Who Remains do this? Why do I have to be alone? He’a affected by his family/friends. THAT is what causes him to invoke change in society. He doesn’t admit it at first, but it’s clear that he treats everything personally to him. He is a God, something I see as more symbolic rather than functional because it makes everything personal to him on a different scale. The symbol of the TVA changed it’s meaning to the tree of life because of him.

He fixed it all by fixing his personal issues… or breaking them. It’s not how real life exactly works —it’s magic— but it’s interesting. It makes an interesting point. Not that one person is the hero, but that, despite EVERYONE’s group work, still at least ONE person had to give up living (usually it’s too many).

The reason I bring this up is because, again, it is so interesting. I thought this was gonna be copaganda (that one Ep Loki says some wack shit.. which he doesn’t agree with anymore I don’t think bc he literally ripped it apart)(maybe it still is copaganda?? Idk, that’s not the point of this thing). This media actually showed the importance of each social theory individually though. AND HOW THEY CAN WORK TOGETHER TO BRING CHANGE! I’d argue they need to work together to bring change.

You need to have that closeness to each other, that understanding of why people are reacting in ways (symbolic interaction). So you can grow stronger as an organized group and figure out plans (structural functionalism). So you can stand up STRONG to your oppressor without leaving ANYONE behind, so you can reduce the HARM of the oppressive system (conflict theory).

I know this is all over the place and I apologize. It seems weird to talk about something so serious using a show (especially when the thing owning that show is part of what you’re speaking out against??)(like seriously wtf Disney!??? Fuck you!!!??)

That said —off topic again— when it comes to Loki, I think he is going to have to find away to be with Sylvie & Mobius again. He has no defenses. They, Sylvie and Mobius, are his defenses. They help him to not die/kill others. They help keep the TVA workers stable to support him. They help keep things in check so no one gets treated unfairly. He needs both of them.

Anyways, back on topic, this can all be overwhelming. Society as a whole. Just remember that we have each other’s backs. You might not feel it yet, but trust me, more and more people are coming together. They/we are doing more and more amazing things, things that get bigger and bigger with more of an impact.

We are stopping weapons from being shipped.

We are boycotting.

We are donating to support.

We are spreading the word.

There is love, it’s just not ever given by the oppressors. Don’t ever look for love there; the people that are hurting family and friends are not ever going to give you love.

Also, if any part of this is off or insensitive please let me know. I’m terrible at being socially human, like my words don’t get interpreted how I interpret them.

[anaxerneas]

We all speak of the mind with little or no hesitation, but we pause when asked for a definition. Dictionaries are of no help. To understand what mind means we must first look up perception, idea, feeling, intention, and many other words we have just examined, and we shall find each of them defined with the help of the others.

Many cognitive psychologists recognise these limitations and dismiss the words we have been examining as the language of "common sense psychology." The mind that has made its comeback is therefore not the mind of Locke or Berkeley or of Wundt or William James. We do not observe it; we infer it. We do not see ourselves processing information, for example. We see the materials that we process and the product, but not the producing. We now treat mental processes like intelligence, personality, or character traits - as things no one ever claims to see through introspection. Whether or not the cognitive revolution has restored mind as the proper subject matter of psychology, it has not restored introspection as the proper way of looking at it. The behaviourists' attack on introspection has been devastating.

Cognitive psychologists have therefore turned to brain science and computer science to confirm their theories. Brain science, they say, will eventually tell us what cognitive processes really are. They will answer, once and for all, the old questions about monism, dualism, and interactionism. By building machines that do what people do, computer science will demonstrate how the mind works.

What is wrong with all this is not what philosophers, psychologists, brain scientists, and computer scientists have found or will find; the error is the direction in which they are looking. No account of what is happening inside the human body, no matter how complete, will explain the origins of human behaviour. What happens inside the body is not a beginning. By looking at how a clock is built, we can explain why it keeps good time, but not why keeping time is important, or how the clock came to be built that way. We must ask the same questions about a person. Why do people do what they do, and why do the bodies that do it have the structures they have? We can trace a small part of human behaviour, and a much larger part of the behaviour of other species, to natural selection and the evolution of the species, but the greater part of human behaviour must be traced to contingencies of reinforcement, especially to the very complex social contingencies we call cultures. Only when we take those histories into account can we explain why people behave as they do.

That position is sometimes characterised as treating a person as a black box and ignoring its contents. Behaviour analysts would study the invention and uses of clocks without asking how clocks are built. But nothing is being ignored. Behaviour analysts leave what is inside the black box to those who have the instruments and methods needed to study it properly. There are two unavoidable gaps in any behavioural account: one between the stimulating action of the environment and the response of the organism, and one between consequences and the resulting change in behaviour. Only brain science can fill those gaps. In doing so it completes the account; it does not give a different account of the same thing. Human behaviour will eventually be explained, because it can only be explained by the cooperative action of ethology, brain science, and behaviour analysis.

The analysis of behaviour need not wait until brain science has done its part. The behavioural facts will not be changed, and they suffice for both a science and a technology. Brain science may discover other kinds of variables affecting behaviour, but it will turn to a behavioural analysis for the clearest account of their effects.

B.F. Skinner, "The Origins of Cognitive Thought"

and related to that second paragraph especially -

...folk psychology does not seek to model computational processes, and its dignity does not depend on there being in-the-head analogues to the propositional attitudes [e.g. believing and desiring]...

Andy Clark, Microcognition: Philosophy, Cognitive Science, and Parallel Distributed Processing

[miusmusings]

Something something about boundaries, barriers, curtains and mirrors in I Feel You Linger in the Air trailer

I do love the lace curtains. Should I buy some for my rooms? They're hard to clean tho

Oh poor poor boy. It's not easy to hide yourself and your love, eh. You're gonna go through so much.

OOH. A fragmented sense of self and reality? Why is this so eerily similar to the bars of a cell in a prison

An aesthetic love nest. Goals. I do hope nothing drags them out of the safety of this place

Reflection huh.

Flirting technique no 1: Back them against a pillar so they can't run away

He's losing his reality and self??? Still too affected by today's class on self, individual and social reality and symbolic interactionism, maybe I should study instead of scrolling through tumblr

Two Worlds. Hehehe did you see what I did here...still waiting for more news about *that* series

A Mirror AND barriers??!!

I'll throw my hands at anyone who comes between them

Flirting technique no 2: Faint.

They look so happy ueueue

[beyond-mogai-pride-flags]

Identity Interactionist Pride Flag

Identity interactionism: theoretical perspective in which identity derives social processes from human interaction; interactional identity narrative.

Can apply to: alterhumanism (extrapersonhood), gender, orientation, etc.

[alicepooryorick]

Gender and sexual-based violence takes many forms and is perpetuated in many ways; however, one topic that always seems to float to the top in these discussions does not change: porn. Many communities, not simply those interested in sexual violence, love to discuss porn, its evils, and maybe even its benefits. However, often in this discourse, the term “porn” or “pornography” turns synonymous with the live-action variety over any deeper discourse regarding any additional types of pornographic content. These include but are in no way limited to, hentai, original smut writing, and transformative smut writing, otherwise known as explicit fan fiction. Transformative works are of special interest, as they lie beyond any traditional means of distribution or production, provide a mask of identity, and are predominantly written by non-male individuals  (McInroy & Craig, 2018), leading to a unique situation wherein unusual demographics both consuming and producing pornographic material may publish whatever one wishes without consequence or even so much as identification of the original author if so wished. This, while also providing a look into how non-masculine individuals interact with explicit content in positive terms. Fandom and transformative works are, of course, an understudied area in academia, in part due to the recency of fandom and transformative media in spaces outside of religion. This study hopes to give insight into porn and our interaction with the content there in, in ways we do not typically get to view it. In this way, we hopefully will develop a deeper understanding into the concept of sexually explicit work.

Research methods:

Fan fiction and transformative works in this regard come in two main forms: text-based transformative works hosted primarily on the Archive of Our Own (though many sites exist) and pornographic comics/manga (or hentai as they are technically called) hosted on a whole host of websites unfamiliar to the author. As such, research on these transformative works shall primarily take place on the Archive of Our Own, henceforth referred to by the common abbreviation “AO3”, utilizing their search functions and provided data to glean context on the subject. This work will focus on larger trends over individual works, opting to look at trends in the data over individual works. Fandoms will be decided by popularity as according to the Archive’s provided data. The top five per category (Anime/Manga, Books, Comic Books and Cartoons, Music, Other, RPF (Real Person Fiction,) Theatre, TV, Video Games) as provided by AO3. By using these, we can look at where the majority of the traffic takes place on the site easily. Beyond looking at fandoms, the Archive provides lots of data, as well as methods to sort and search its database by key phrases that users apply to their own work, as well as some required tags for categories like “Relationship pairing,” “Warnings,” and “Age Rating.” Using both required tags and user generated tags, AO3 can provide us with data required for investigating

Theoretical Framework:

Symbolic interactionism is, of course, the core lens with which to look at any text, and here, it is no different. However, some ideas from post-structuralism may also be taken, specifically in the idea that society perpetuates socialization that we, in turn, use to recreate society imperfectly. In this scenario, we may take the meso-level community of fanfiction writers and try to understand how themes perpetuate within the sub-society of smut writers on AO3. While symbolic interactionism is obvious in its usage; post-structural ideas may not be instantly obvious to use. However, we can only understand large scale trends in the data through an understanding of society and discourse structuring our thoughts, and then us rebuilding society. One other framework shall be used, Pagliassotti’s Ten Dimensions for understanding the desire to consume same sex (typically male on male, or yaoi) media. (Zsila et al., 2018) (Volume 5, Issue 2 – Participations, n.d.) As there is a large sect of the data for which this is needed to properly understand what we are seeing.

Biases:

Going into this research, I had already had extensive experience participating in fandom and transformative communities, specifically using Archive of Our Own (AO3) and Tumblr to engage in discussions regarding transformative works and their source material. As such, and as Sociology is commonly jokingly referred to as “the study of things we already know,” I already had some idea of what to expect coming into this study. However, initial review of this data has revealed unexpected notes not previously expected.

The first aspect of this study that I expected and was confirmed on was the prevalence of Male-on-Male relationships, something many individuals interested in fandom question the prevalence of. The high rates of non-straight non-men in the communities would, to many, imply that female characters may get a greater chance to shine, however that is not what we see. Indeed, though there is no way to quantify who the main character of a transformative work is through AO3’s provided data, we see the Male-on-male category shoot to the top of every fandom, implying that, as AO3 asks only for the main relationship (alongside the presence of a tag specifically for multiple relationships,) men are disproportionately leading the stories written in fandom spaces. Interestingly, this trend holds in explicit content too, where in most fandoms prioritize male-on-male relationships, then straight relationships, although “Multiple relationships/multiple partners” tends to also be prevalent in explicit fiction too.

An additional point can be made as to the prevalence of certain media in fandoms, as well as how horny they are, which was interesting. Obviously some media is more popular than others, however I did not expect the discrepancy between what I will term “macro fandoms” (TV, Books, Cartoons, Movies, Video Games, Real Person Fantasy (RPF) , and Theatre) (categories provided by AO3) to be so great; with Real Person Fantasy (primarily KPop RPF) standing at an average of 24% of all works being done in the category being rated as explicit, while theatre based fandoms stood at a simple 8%. This implies that there may be a correlation between how media is consumed and how we are affected by it, otherwise said, “the medium is the message.��

There is so much data to be looked over, even from what has been collected . Many questions are raised by the data, such as how the tag combination (written “Fandom, Rating, relationship”) “Marvel, Explicit, Other” makes up for 43% of all “Marvel, Other” works. However, this research is giving interesting data into the world of female led pornographic material, and much can be interpreted on how women desire, but also how patriarchal values can be internalized. Additionally, I will leave with one note where in the fandoms where I collected data were all media in which men take main character roles. This is not a bias in the selection though, I feel, as all top fandoms are male led, with the exception of theatre based fandoms, where in we do see two things happen: female character led media is allowed into the top five lists from which I took my data on fandoms, and the amount of works in the meta-fandom take a nose dive.

Methodology:

Data collection:

Data was taken from the website itself between September to October 2024, and all data was taken from AO3’s provided statistics, available on the website. Data was copied by hand and Microsoft Excel was used for statistical analysis. I utilized the pre-provided tags AO3 uses to sort works on the website. (Tutorial: Posting a Work on AO3 FAQ | Archive of Our Own, n.d.) Data was sorted into Gender Pairings, Work Count, Explicit Content, and the Top 200 Tags. Additionally, data was taken from PornHubs “Year in Review 2023” (2023 Year in Review - Pornhub Insights, 2023) for comparison.

Gender Pairings:

            There were five variables in Gender Pairings, which was focused at looking into trends in gender dynamics in fan fiction work:

Media, which were the fandoms the pairings were taken from, which were the top five fandoms, plus MCU (Marvel Cinematic Universe) which was included as both it and the generalized “Marvel” media tag were within the top. Notably, “Meta-Fandoms” such as K-Pop were excluded from the analysis, as these encompass multiple other top fandoms and may bias data.

            Pairing, which was the one of the mandatory tags from AO3, as such each come with a provided definition of what to expect, provided in Figure One.

            Pair Count, which was the provided number of works using that category of pairing in total; both explicit and not, per media.

            XXX Pair Count, this was done by using the filter results in a given media to sort by only explicit works within that fandom, and then recopying the new totals for Pair Count.

An additional, the smaller set of variables attached to this category was “Dead Dove”, referring to the rating above explicit that is not provided by AO3 as a part of the mandatory ratings tag, but instead is a user generated tag that appears in the Top 200 at time of data collection (Tags | Archive of Our Own, n.d.). Dead Dove, Do Not Eat means that the content within the work will be beyond that of what is reasonable to expect, typically graphic imagery of taboo subjects, and gratuitous depictions and descriptions dark subject matter (rape making up the number one tag associated with Dead Dove Do Not Eat.)

This data was organized by Pairing, as previously defined, but now taken from the Dead Dove Do Not Eat search as opposed to per fandom, and Dead Dove Count, which was the amount of the tag each pairing made up. Dead Dove; Do Not Eat was not restricted to just being under ��Explicit” rating, but instead all ratings, so as to capture the full story better.

Work Count:

Work Count was made up of four variables and was focused on seeing the trends in what the popular medias and mediums were.

Title, which was simply the name of one of the top five fandoms per medium category. (Fandoms | Archive of Our Own, n.d.)

            Work Count, which was the amount of total works per fandom.

            Medium, which was the specific medium the fandom is a part of. If the fandom belonged to multiple mediums and was in the selection parameter to be chosen in multiple mediums, I instead labeled it as “Multi-Media.” Beyond there, the comprehensive list of what AO3 classifies as a “Medium” is available at this citation (Fandoms | Archive of Our Own, n.d.).

            Explicit Count, which is simply the amount of works tagged as “explicit” by the users of the Archive per fandom.

Explicit Content:

Finally of the major categories, I collected data on the most popular tags in sexually explicit works. To do this, I used a slightly flawed method that I feel still held value and accurate data, which was to search for works tagged as having “Sexual Content.” This method was used as the Archive has no way of searching for just explicit rated works, and so round about measures were used to find the data I was interested in. Data was collected once again by using the provided data from the filters on AO3. The data for explicit content looked to investigate the specific type of content readers look for in their porn. Data was taken in two variables:

            Tag, which was taken from Figure 2 (Sexual Content - Works | Archive of Our Own, n.d.) almost directly.

            Count, which was the number of works with the given tag on AO3.

Top 200 Tags:

An additional point of data was less collected and more provided to me. AO3 offers their two hundred most popular tags that are not sexual positions to be viewed, sorted alphabetically and shown with size on the web page being proportional to their popularity. This data was mostly approached qualitatively, looking for trends and artifacts of something bigger.

All data was taken from approximately 13,920,000 works, 7,678,000 users, and 68,290 fandoms, and was publicly available on the website. (Home | Archive of Our Own, n.d.)

A Note About Tags:

            It is worth bringing up how the tag system on The Archive of Our Own works to properly understand some of the data collection. The tags on the Archive are user generated; however many popular tags are lumped under one tag or fandom tag. An extensive explanation on how tags are input can be found here: (Tutorial: Posting a Work on AO3 FAQ | Archive of Our Own, n.d.) However, the important part to understand in what makes my data collection possibly problematic in Sexual Content is that notably if tags get to large, they will splinter from the “main” tag. An easy example of a partial splinter is the MCU and Marvel being separate but related fandoms, where MCU stands as a fandom of its own, big enough to qualify for the Multi-Media tag equally as much as Marvel proper (which also counts MCU, which I took measures to remove from the Marvel data.) Why I bring this up is that in the top 200 tags, we see Smut and Sexual Content both appear separately, despite them being the same thing, more or less, in fandom. This is brought up as there may be marginal errors in my numbers as some works may be tagged as smut but not Sexual Content, or vise versa. (Tags | Archive of Our Own, n.d.)

PornHub Data:

Additionally, further data for comparison is taken from PornHub’s 2023 Year in Review (2023 Year in Review - Pornhub Insights, 2023) and PornHub’s data on top searches by women on their site (Women’s Favorite Searches Worldwide - Pornhub Insights, 2016). This data is used to compare transformative media trends to that of traditional pornographic material. Data discrepancies between porn searches, female porn searches, and popularity of tags in explicit transformative media all tell us about how we interact with porn. PornHub is being used for this data due to its dominance in the porn space, as well as its data being easy to access.

Findings:

Gender Pairings (Figures 3-6):

            Out of 2803347works looked at within Gender Pairings (Figures 3-5), 2244399 (80%) works involved a direct relationship as a focus of the work. Of those 2244399 works, 475135 of them (21%) were rated as explicit. Explicit content was notably not spread evenly among gender pairings (Figure 5) instead, a discrepancy between the pairings arose. Lowest was General (G)(~1%), which again is the gender pairing tag used to mark no major relationship dynamic within the work. The highest rate of explicit content was contained within the Multiple Partners tag (M)(24%) but Male/Male dynamics (MM) were close second (23%). Female/Female (FF) sat at 17%, straight dynamics at 19%, and Other Dynamics at 19% as well. Notably, once broken down into individual pairing-media entries, an interesting outlier emerged; “Marvel, Explicit, Other” stood as the highest percentage of explicit content, with 43 percent of content within “Marvel, Other” being explicit. Looking into the set of tags on the archive, a trend rapidly emerged:  it was disproportionately works relating to the alien Marvel character, The Venom Symbiote, more colloquially known as Venom.

For Dead Dove; Do Not Eat, we see the data spread in Figure 6 where in it is shown that there is an even larger disparity between dynamics, with Male/Male dynamics taking up almost half the Dead Dove; Do Not Eat tag. One curiosity I got while looking through the data on Dead Dove Do Not Eat was how much, roughly, of the site does it make up. It makes the top 200 tags. (Tags | Archive of Our Own, n.d.) comparing the amount of works tagged as Dead Dove; Do Not Eat (106,096) to the site total (13,860,000) we see that 0.77% of all works on AO3 are tagged as such. This percentage only makes sense when contextualized next to “Sexual Content,” (1,926,454 works) which makes up approximately 13.9% of works. This means that the Top 200 tags are a highly diverse set with a lower floor of entry than I perhaps expected. What is more, AO3 provided tags that are closely associated with Dead Dove; Do Not Eat (Figure 7). Important to note that it itself is the top tag associated with Dead Dove; Do Not Eat. This is simply an artifact of how the archive works. What we see is that largely Dead Dove; Do Not Eat content is sex centric, with Rape and Anal Sex both being in the top three tags most highly associated, sandwiching the tag Angst.

Work Count (Figure 9):

                        Work count lends some more interesting statistics to the study, notably how much explicit work is being done not only per fandom but also per medium. A reminder is needed here before we dissect some of this data that not some medias overlapped with multiple mediums and, as such, I elected to sort them into their own “multi-media” categories, as while AO3 does separate between Marvel TV shows and Marvel movies, they do not separate them fully. As such to not bias results, and to better understand these unique and frequent cases, I separated them into their own section.

            Within the Work Count data, we see once again differing priorities placed on which works to write about, and indeed make explicit content of, with great discrepancy seeming to take place by medium. From least to greatest we see: Theatre (8.28% explicit percentage,) Multi-Media (15.44%,) Books (18.3%,) Anime and Manga (18.53%,) Real Person Fantasy (RPF) (21.22%,) and Music (24.17%.) What is most interesting here is the prevalence of porn about celebrities, with the top two mediums functionally being one and the same in that they deal almost entirely with real people. Indeed, if we sort by percentage of explicit content, we see the top four leaders in explicit content are as such: Actor RPF (28%), Stray Kids (a KPOP Band)(28%), BTS(Another Korean band)(25%), and Music RPF (24%). I will restate that anything lumped as “RPF” largely will be encompassing other fandoms, as we see with Music RPF being alongside two KPOP bands.

Explicit Content (Figure 11-12):

            Data here is fairly simple to interpret, the top tags associated with “Sexual Content” all make intuitive sense for the most part. “Implied Sexual Content” and Angst are interesting, although the latter could simply be an artifact of the popularity of the Angst tag. However, this is pure speculation. Seeing the top results being dominated by porn categories makes sense, as those are of course going to correlate to pornographic content. It is not a perception shattering category, simply more of sociology being the study of stuff we intuitively knew.

            Looking into the data on the rate of warnings associated with sexual content used on AO3 tags, half of all works have “Non-Applicable” selected, with a further 33% chose not to use warnings, an option that, though is provided to allow for major plot points to not be spoiled, tends to function one and the same as “Non-Applicable.” After that net 83%, we see Graphic Depictions of Violence in third, with rape in fourth, the two sitting at 8.63% and 8.57% respectfully. Underage warnings sat just below at 7.4%, and Major Character Death was last, with just 2.97% of all works tagged as having Sexual Content also having Major Character Death warnings.

PornHub Data (Figure 13-14):

            Looking at the data provided by Pornhub, we see an interesting top 15 terms most searched, going as such (Pornhub on left, PornhubGay on the right)

#1 hentai

#1 twink

milf

anime

lesbian

pinoy

japanese

asian

pinay

hentai

anal

curious straight friends

asian

straight

latina

furry

big ass

femboy

step mom

black

anime

korean

threesome

bbc

ebony

massage

massage

japanese

#15 creampie 

#15 gangbang

            Of the top 15, we see one third of the results of straight porn, either being directly Asian (Japanese, pinay, Asian) or related to Japan directly (hentai, anime.) If we look at the percentage of the top fifteen taken up by racialized minorities, we see that again, a third of the top results are related to the sexualization of racialized minorities, with those of south Asian decent being higher than Latina or Ebony categories.

Interestingly, though “lesbian” is ranked so highly (reaching number spot number one in America.) The article this data comes from gives deeper insight that is very important, stating:

“It would be easy to theorize the popularity of this term could have much to do with the fact many of the viewers on Pornhub are straight men, but that would not do the data justice. Not only was it the 3rd most searched term overall, but it was also the most viewed category of 2023. For men, it was the 7th most viewed category, but for women, it was the 1st. It seems to signify that no matter your gender or sexual orientation, viewers love to see two women getting together.” (2023 Year in Review - Pornhub Insights, 2023)

This is contradictory with the data seen from AO3, and this data is referring to modern porn trends from just last year, not the article on women’s preferences in porn from 2016. It is interesting to see this discrepancy, and perhaps it is simply due to demographic differences between those who consume porn and those who consume transformative media.

What this Means:

            The data above all lends itself to a look at the ways in which women chose to interact with porn from a creative’s point of view as well as a consumer. Fanfiction or transformative media uniquely has a culture of the author writing that which they want to consume, leading to the act of creation and the act of consumption being largely the same (Shit Tier Ugly Ass Elf, n.d.) (Useless on Rainy Days., n.d.), functionally, for our purposes. If people are creating a tag in disproportionate measures, that means there is disproportionate demand from what we would see if we assumed pure random creation.

Discussion:

            Though we see many trends within the data, some are of particular interest. Of course, source media is not a prominent aspect of traditional pornographic materials. That said, AO3’s sexual dynamics trends are of interest, as are artifacts of the culture surrounding AO3 content, as well as themes specific to AO3. Additionally, the comparison of popular tags on AO3 to the popular terms on PornHub are of great interest, due to the aforementioned gender dynamics.

            As previously mentioned, transformative media, and especially fan fiction, is predominantly created and consumed by people who are not heteronormative men. Predominantly this means cis women are the highest demographic, while other gender categories trail behind. This is reflected in an odd way, wherein we see that predominately fanfiction is male-lead dominated in its body, porn or otherwise, or that at least men feature heavily. Indeed, comparing the amount of just M/M relationships to the body of data taken in Gender Pairings (Figure 4) we see that of 482771 explicit works,51% are man on man, leaving not even half for the other five categories. This is compared to the 7% of all explicit works taken from the body that dealt with W/W relationships. At this point in the data, I chose to investigate if this is a selection bias caused by the fandoms selected in Gender Pairings (Figure 4) and went back to the data to compare gender dynamic counts in the Sexual Content so as to eliminate any bias created by the top fandoms being all male led, which in and of itself is highly interesting. Looking at all works with sexual content, lesbian relationships grow in popularity to 10% of the body, however yaoi grows further, increasing in discrepancy to a staggering 62%! Ironically, though this was supposed to see if disproportionately male works had been chosen, we see the opposite. The top 5.5 fandoms are 11% less M/M dominated than the entire body of works tagged “Sexual Content.” Largely, this could relate to multiple things. One is that women may consume male on male pornographic material for virtue of being attracted to men, and therefore this simply reduces the amount of women they may see. There is, in fact, some work done in the study of yaoi media; and from which I will quote the ten dimension motive set,

            “The first, “Pure” love without gender dimension refers to a motive to view/read romantic contents in which gender differences are not present. The Pro-gay attitude/forbidden & transgressive love dimension represents a motive to view/read materials that portray a positive picture of homosexual men. Identification/self-analysis refers to yaoi viewers’ and readers’ motive to better understand their own feelings and dilemmas. The Melodramatic/emotional elements dimension represents a motive to experience intense emotions. Dislike for standard romances/shoujo reflects a motive to avoid heterosexual romance stories (e.g., shoujo) due to their often one-dimensional female characters and ‘boring’ narratives. A female-oriented romantic/erotic genre dimension refers to a motive to consume yaoi because it caters to women’s narrative preferences. Pure escapism/lack of reality reflects a motive to escape daily life. Art and aesthetics represents a motive to view/read yaoi for its distinctive graphic style. The Pure entertainment dimension refers to a motive of seeking relaxation and entertainment. Finally, Arousing/sexually titillating reflects a motive of seeking sexually arousing content.” (Zsila et al., 2018) (Volume 5, Issue 2 – Participations, n.d.)

            Approaching the question of the prominence of yaoi media from this new perspective, let us break down each dimension and compare it to what we know of fanfiction.

Pure Love [AG1] is easy to argue for, as it would be an appealing for many to read media where the one they are to project on to is not inequal, however if we are to subscribe to the idea that the consumer and creator are one and the same in fanfiction and transformative media as a whole, would it not be sensical to argue that this should not matter, as the one dictating the demand is also dictating the supply? Could it be that, perhaps, even in these fictions the ideas of patriarchal values are held close enough that it is difficult to imagine a non-heterosexual relation that holds no inequality? As norms become part of who we are, the heterosexual dynamic becomes symbolic of a power imbalance. But what of non-male, same sex dynamics? I would argue that this argued symbolic nature shines through once more, and that even with the absence of a man, the idea of the oppressed woman may hold to strongly for the written lesbian dynamic to exist without some idea of the way women are treated in society bearing down on the writer’s preconsciousness. As such, the male on male dynamic is defaulted to, with the women able to insert themselves into this identity easily enough that it is irrelevant that it is not technically a woman they are projecting onto.

Pro-gay Attitude/Forbidden and Transgressive Love is simpler to understand, some people may simply enjoy reading representation, regardless of if it is their own or not, and as the consumer here is also the creator, it is reasonable to assume that this causes some people to write male/male dynamics simply to normalize the idea.

Identification/self-analysis another fairly obvious one to apply to transformative media, as writing is a common method of processing emotions and used for various therapeutic reasons (Klien, 2010) and that even reading can help us understand the world around us better, it stands to reason that transformative media is no different. With the high rates of queer individuals in the space, and that the majority of them identify as something other than male or masculine (McInroy & Craig, 2018). While in no way do I feel that this alone is enough to cause the massive preferential bias towards male/male dynamics, to pretend that only one cause is at play would be foolish.

Melodramatic/emotional elements I feel needs very little explaining the significance of, as it is fairly simple aspects of what makes media enjoyable, and was explained well by the quote above.

Dislike for standard romances/shoujo this is of interest, and wraps back around to what was talked about under Pure Love, that the heterosexual relationship can be symbolic of an inequal one.

A female-oriented romantic/erotic genre this is the closest link to fanfiction, as we can understand the fanfiction as almost the most female audience centered fiction possible, with the creatives creating for themselves what they want to see with no interference.

Pure escapism/lack of reality is one place I would go further than the provided theory. Again, if we are to believe that the target audience of the work is the creator themselves, then the idea of the work takes shape as less a media but an avenue to pretend in. Indeed, though it is not included in the top 200 tags, the tag “y/n”

Art and aesthetics apply the least, as many transformative works are purely text based.

Pure entertainment Once again, explained well by the quote, no porting needed.

Arousing/sexually titillating and lastly, this, which is especially prominent within our context.

            This very clearly moves away from a reductionistic perspective of yaoi consumption as just a fetishistic past time, though it could still be argued it is. What compounds the data on gender dynamics is the data on Dead Dove; Do Not Eat where in we see 47% of works be male/male dynamics, and 23% made up by straight dynamics. After this, Multi, f/f, General, and Other all make up roughly the same proportion of the Dead Dove body at around 7%. This follows trends in the most popular ships, where in the top seven dynamics are all yaoi or straight dynamic (Figure 4.) More than likely, this discrepancy is in large part caused less by a conscious effort to write men in extreme situations, or straight relations similarly, but more stems from the popularity of male on male and straight dynamics. That said, one aspect of the ten dimensions that is bolstered by the prominence of male in male Dead Dove content is Identification/self-analysis where, as previously discussed, writing with this degree of abstraction may aid in assisting those with processing their emotions and trauma.

            A further puzzle emerges in the lack of female on female dynamics, and while certainly some of that can and should be attributed to heteronormativity and the prominence of straight relationships in media, we are still faced with the question of why lesbian dynamics are less popular than male on male dynamics. To respond to the obvious answer to those on the outside of this scene, it is not the lack of lesbian representation. Many popular dynamics written in fan fiction are not canonical to the source material. Looking at top relationships on AO3, we see relationships such as Draco Malfoy/Harry Potter, colloquially referred to as “Drarry,” (Relationship(s) - Works | Archive of Our Own, n.d.) a relationship that is completely made up by fans. One answer for this discrepancy comes from an aspect of cultural discourse that constructs lesbians as, to some degree, "That a woman might desire a woman 'like' herself, someone of the 'same' sex, that she might also have auto- and homo- sexual appetites, is simply incomprehensible.” (de Lauretis, 1988) that is to say, some aspects of our cultural preconscious still constructs the idea of a woman as less sexual, and to that end, less relationship oriented. I would add further, beyond what is said there, that our construction of what a man is is based on his ability to be in a relationship. To quote Kendrick Lamar’s Mr Morale and the Big Steppers, “Auntie Diaries,” a work on masculinities where the song he is discussing what it means to be a man or woman, he brings up his perception of his trans uncle and what made him perceive his now uncle as a man:  

“My auntie is a man now

I watch him and his girl hold their hands down

Tip of the avenues under street lights made his

Thinking, "l want me a bad bitch when I get big." (Kendrick Lamar – Auntie Diaries, n.d.)

A man is as masculine as his ability to have relationship and, as we construct the female concept as the opposite of the male, then perhaps the reason we see this lack of lesbian dynamics is due to this construction and subconscious bias in how we perceive women and their dynamics. Further, we can touch on the prominence of male/male dynamics as a result of our perception of male affection being deviant. Put otherwise, the show of affection in a man is taken rarely as strictly platonic, leading the authors of these fan fictions who write non-canonical relations to bias their writing and, therefore, their data, towards male on male dynamics.

            The cultural perception on men and women are not the only artifacts of the culture surrounding transformative media. In fact, the top 200 tags on AO3 are a gold mine of data on what people are interested in creating and reading (Tags | Archive of Our Own, n.d.). Common themes pop up in the top 200, and what types of tags are frequent tell us a lot. For instance, multiple references to lead characters being underage exist in the data, tags such as “Underage,” “teenagers,” “Harm to Children,” “Sexual Inexperience,” and “Firsts” all are within the top to hundred. Another theme arises in mental health issues and trauma, with tags such as “Mental Health Issues,” “Incest,” “Abuse,” “Anxiety,” the aforementioned “Dead Dove; Do Not Eat,” and  “Suicide.” A final theme comes through in the top 200 that is more removed from these other two, which is various tags relating to kinks and explicit content. Tags like “Bottoming,” “BDSM,” “Daddy Kink,” and “Threesome” all are contained within the top 200. These, to me, speak of two separate ideal groupings, with overlap occurring. The first two groups mentioned speak to who is creating and consuming this media: youths with issues they use writing to help deal with. A fourth group I will draw upon of tags is what I think of as “external factors,” which consists of tags like “drugs,” “substance abuse,” “Homophobia,” and “gender related.” All relate to real world aspects that exist in our world that many writing would have to deal with. That all said, we see a unique picture of what porn looks like here. When compared to the most popular porn categories on PornHub, we do not see demographic categories come up beyond the tag “Boys in Love.” Instead, though, we trade the sexualization of the minority for an increased interest in porn with multiple partners. “Polyamory,” and “threesome,” both appear in this list, but we get further confirmation from our data on gender pairings where works tagged as multiple partners had the highest rate of explicit content on the site when compared to non-explicit multi-partner works. Male/Male having the second highest rate of explicit content lends support to the Arousing/sexually titillating dimension earlier mentioned too. However, from a macro perspective, looking at all the categories together, a picture begins to be painted of who is using this site and how they consume this material. Predominantly it is youths who have had deviant upbringings who try and make sense of their life, their world, and their feelings through the medium they have access to, a medium where in the facelessness of the anonymous archive allows for people to express and explore their feelings without the cost of negative action being taken on them. Additionally, we can see a difference that I suspect is largely medium based in that the tags specifically do not deal with visible demographics.

            While the tags do not deal with demographics, there is certainly still a fetishization of minorities taking place within the explicit side of AO3. The “Music” grouping in Work Count (Figure 9) is a deceptive name, as bar “Music RPF,” it is entirely Korean pop bands. Even looking at Figure 9 sorted by highest rate of explicit works, we see Stray Kids, NCT, and BTS alongside Music RPF. Not only those, but we see also media franchises from Japan also appear, with Anime “Attack on Titan” and Japanese video games “Genshin Impact” and “Final Fantasy.” There is clear bias towards the creation of explicit content of Asian people or media. That said, there are clear outliers, notably Sailor Moon which sneaks into the list as a theatre production and sits at a 10% explicit rate. Indeed, this is one oof the two commonalities we see between AO3 and PornHub. Both sites value minority (typically South East Asian) actors or characters to sexualize. However, PornHub does differ in the prevalence of lesbian categories, where we have had to discuss why it is we see so little lesbian porn (and, frankly, content) on AO3, the PornHub has no such issue in having low lesbian porn consumption, even among women. We know that different social medias attract different gendered demographic bases (Zote, 2024) as such it is possible to propose that perhaps other demographic bases go to different social medias more so than others. Lesbian porn was the most popular category for women on Pornhub (2023 Year in Review - Pornhub Insights, 2023), so we know that it is not simply a case of women not wanting to consume lesbian content. Meanwhile, looking at the tags most closely associated with Sexual Content on AO3 (Figure 15), the data we get shows a high prominence of simple sexual acts, the acts we expect to see especially when in a context of high rates of Male/Male dynamics.

What is interesting is that, unlike traditional porn, we do see a very important tag pop up in these results: “Fluff.” Fluff is a common tag used in fan fiction communities to denote happy content without conflict. Typically it denotes wholesome interactions, and is commonly found in works dealing with happy families and positive relationship dynamics. This is an important datum to see, as it fundamentally alters the perception of how sex is viewed between the two mediums. Where traditional porn focuses on sex as dominance (Antevska & Gavey, 2015). The prominence of fluff as a category of transformative porn signals to us that a fundamental difference exists between male and female dominated porn. Where traditional, male dominated porn promotes and exhibits dominance as its primary display. This contrasts against the younger, more idealistic and romantic idea of sex as something not dominant but instead loving. This though is not the full story. It is more accurate to say that within transformative porn, in this female dominated space, porn is two separate things. Indeed, I would argue it is more correct to say explicit content over porn when discussing fan fiction. Porn connotates a degree of pleasure given when reading, where as not all explicit transformative fictions aim for that. There is a dichotomous set of ideal forms that arise as you look into the data, the porn and the processing. While yes, many works are done with the intent to make an enjoyable piece that others may be aroused by, it is also true that explicit content is media as any other. Where stands a creative outlet so too stands an outlet for thoughts not safe for this world.

Conclusion:

            At its core, there are not many differences between how men and women consume porn. More accurately, I would say young men and women, who use this oversightless medium as means to figure themselves out. They find that which attracts them, and the free hand of the market does its work. That which is in high demand disproportionately will be in high supply in transformative media spaces, as often the consumers and creators overlap highly, especially in a medium as accessible as fan fiction. We see remnants of patriarchal values and structures in the data too. Though a bias towards men and specifically male/male dynamics can in part be explained by sexuality, some degree of how women are excluded can be attributed to us associating sex and drive with men, an idea that creates deviance in women who may wish to pursue sex as a platonic dynamic similarly to how men are allowed to in modern society. Additionally, we see a strong fetishization on Asian populations, both men and women as we saw not only AO3 and regular PornHub, but also PornHubGay hold Asian categories in high positions of popularity, a further colonial/patriarchal structure of denying masculinity, and therefore power, to Asian populations. Overall, while it would be easy to say that female created and consumed porn is lacking in dominance and therefore is better that traditional works, it must be stressed that though the patriarchal values re not as explicit, women still are part of society, and as such they are yet capable of perpetuating issues, even when given anonymity to hide from outside forces from. Regardless, looking past that which society places upon us, we see fanfiction smut used as something altogether different from traditional industry porn; Though fluff was a highly ranked tag in the data, more data seems to lead towards youthful demographics figuring out their identities, their life, and what they even want. Porn is used as an excuse to explore ideas that may not be discussable, whether that be for taboo or trauma reasons. The anonymity of fandom allows for those who write to explore themselves, free of judgement.

Issues in the Study:

            Though much data was collected in this study and turned into substantive findings, issues still remain in the work done. Namely, we are approaching media analysis from a purely quantitative framework. It is all to easy to point out the incompetency of approaching this issue from simply one lense with which to see. That said, the data here lends insight to the world of female dominated porn, especially without the constraints of a male dominated market nipping at the creative freedom of creatives as traditional porn may. Additionally, there is issue in the question of how well this translates to traditional porn, OnlyFans, or even other forms of transformative media that’s not fan fiction.

Figures:

Figure 1:

Text in Image: (Tutorial: Posting a Work on AO3 FAQ | Archive of Our Own, n.d.)

Choose one or more categories for the romantic and/or sexual relationship(s) your work includes (if any) from the list.

There are 6 categories of works on AO3. An interpretation of the abbreviations is below; however, the exact definitions of these vary from fandom to fandom and fan to fan. Use whichever you feel are applicable, or else none:

F/F

Female/Female relationships.

F/M

Female/Male relationships.

Gen

General: no romantic or sexual relationships, or relationships which are not the main focus of the work.

M/M

Male/Male relationships.

Multi

More than one kind of relationship, or a relationship with multiple partners.

Other

Other relationships.

Figure 2:

A list of tags on AO3 most closely associated with the tag “Sexual Content,” no filters are active on the AO3 database filter.

Figure 3

KEY:

MM: Male x Male

FF: Female x Female

FM: female x  male

M: Multi

G: General

O: Other

Key for all Gender Pairing tables.

Figure 4

Media

Pairing

Pair Count

XXX Pair Count

…

Marvel

O

21148

9096

43%

Harry Potter

M

32947

9091

28%

Marvel

M

34487

9096

26%

MCU

M

28423

7414

26%

DCU

MM

108108

27800

26%

DCU

M

15236

3900

26%

MHA

FM

72948

17631

24%

MHA

MM

160063

38106

24%

Marvel

MM

274900

63493

23%

MHA

M

26881

6192

23%

MCU

MM

214740

49102

23%

Harry Potter

MM

215322

47561

22%

Harry Potter

FM

175485

36035

21%

Video Blog RPF

FM

17624

3347

19%

Marvel

FM

190905

36001

19%

Marvel

FF

43998

8154

19%

Video Blog RPF

MM

122002

22540

18%

MCU

FM

163089

29621

18%

MCU

FF

36907

6692

18%

Harry Potter

FF

44630

8072

18%

Video Blog RPF

M

15654

2804

18%

MHA

FF

22544

3766

17%

DCU

FM

78600

12306

16%

DCU

O

8538

1326

16%

Harry Potter

O

12973

2010

15%

MCU

O

14832

2160

15%

Video Blog RPF

FF

6845

984

14%

MHA

O

14627

2073

14%

DCU

FF

54929

7428

14%

Video Blog RPF

O

15014

1352

9%

MHA

G

62854

1308

2%

Harry Potter

G

82099

1615

2%

Marvel

G

133989

1784

1%

MCU

G

111221

1401

1%

DCU

G

80794

846

1%

Video Blog RPF

G

87991

664

1%

Gender Pairings data sorted by

Figure 5

FF

Media

Pairing

Pair Count

XXX Pair Count

…

MHA

FF

22544

3766

   0.16705

DCU

FF

54929

7428

   0.13523

Harry Potter

FF

44630

8072

   0.18086

MCU

FF

36907

6692

   0.18132

Marvel

FF

43998

8154

   0.18533

Video Blog RPF

FF

6845

984

   0.14375

Average

34975.5

5849.333333

17%

FM

MHA

FM

72948

17631

   0.24169

DCU

FM

78600

12306

   0.15656

Harry Potter

FM

175485

36035

  0.20535

MCU

FM

163089

29621

   0.18162

Marvel

FM

190905

36001

   0.18858

Video Blog RPF

FM

17624

3347

   0.18991

Average

116441.8

22490.16667

19%

G

MHA

G

62854

1308

   0.02081

DCU

G

80794

846

   0.01047

Harry Potter

G

82099

1615

   0.01967

MCU

G

111221

1401

   0.01260

Marvel

G

133989

1784

   0.01331

Video Blog RPF

G

87991

664

  0.00755

Average

93158

1269.666667

1%

M

MHA

M

26881

6192

  0.23035

DCU

M

15236

3900

  0.25597

Harry Potter

M

32947

9091

  0.27593

MCU

M

28423

7414

  0.26085

Marvel

M

34487

9096

  0.26375

Video Blog RPF

M

15654

2804

   0.17912

Average

25604.67

6416.166667

24%

MM

MHA

MM

160063

38106

  0.23807

DCU

MM

108108

27800

   0.25715

Harry Potter

MM

215322

47561

  0.22088

MCU

MM

214740

49102

  0.22866

Marvel

MM

274900

63493

  0.23097

Video Blog RPF

MM

122002

22540

   0.18475

Average

182522.5

41433.66667

23%

O

MHA

O

14627

2073

   0.14172

DCU

O

8538

1326

   0.15531

Harry Potter

O

12973

2010

   0.15494

MCU

O

14832

2160

   0.14563

Marvel

O

21148

9096

   0.43011

Video Blog RPF

O

15014

1352

  0.09005

Average

#DIV/0!

14522

3002.833333

19%

Gender Pairings sorted by pairing with the average explicit percentage per pairing shown.

Figure 6

Pairing:

Dead Dove count:

Percent

MM

49556

47%

FM

24728

23%

M

8974

8%

FF

7728

7%

G

7609

7%

O

7501

7%

Sum

                     106,096.00

1

Dead Dove Percent:

0.77%

Table showing data relating to the gender pairings in Dead Dove; Do Not Eat.

Figure 7

Figure 8:

Figure 9

Table showing data on explicit works within fandoms and mediums. IsHorny quantified as (from my notes): Sorting by percentage I am going to split the data into three: High Percent (>=20) medium percentage (20>x>10), and low percentage (<=10.)

Figure 10

Figure 11:

tag (No Limits)

Count

Percent

Anal Sex

263910

13.88%

Oral Sex

187245

9.85%

Blow Jobs

159873

8.41%

PW/oP*

136833

7.20%

Masterbation

109339

5.75%

Anal Fingering

109047

5.74%

Vaginal Sex

103223

5.43%

Rough Sex

100066

5.26%

Implied Sexual Content

99782

5.25%

Established Relationship

93986

4.94%

Angst

40178

2.11%

All Fics (Tag: Sexual Content)

1,901,280

*PW/oP means Porn Without Plot

Figure 12:

Warning

Work Count

Percent

N/A

971255

50.70%

Chose Not To Use

647100

33.78%

Graphic Depictions of Violence

165264

8.63%

Rape

164076

8.57%

Underage

141690

7.40%

Major Character Death

56831

2.97%

Sum

                     106,096.00

1

Percentages taken from sum.

Figure 13:

(2023 Year in Review - Pornhub Insights, 2023)

Figure 14:

(2023 Year in Review - Pornhub Insights, 2023)

Figure 15:

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Zote, J. (2024, February 14). Social media demographics to inform your 2024 strategy. Sprout Social. https://sproutsocial.com/insights/new-social-media-demographics/

Antevska, A., & Gavey, N. (2015). “Out of Sight and Out of Mind”: Detachment and Men’s Consumption of Male Sexual Dominance and Female Submission in Pornography. Men and Masculinities, 18(5), 605–629. https://doi.org/10.1177/1097184X15574339

 [AG1]Try to find the source for the idea that women are less connected to their gender/sexuality than men.

[everythingsaboutgender]

Labour and Symbolic Interactionism

This is a song by Paris Paloma, showcasing the symbolic women have to take on in the household and in public. In the textbook, the western cultural norm usually displays women as the caretakers. Taking care of the husband, children, and house. Still in the job field, jobs that require caretaking are still dominated by women. The textbook cites, "Women are still asked to take care of social activities on the job, but men in equivalent positions are seldom expected to do this".

In the lyrics, Paloma lists off all the things women are expected to do as women. She states that it's "too much labour" all day everyday. in class we also talked about how the majority of work that women do around the house is continuous like cooking, cleaning, and child care, while yard-work and work outside of the house is often done sporadically.

Pg. 45

[longlistshort]

Work by Adrienne Elise Tarver

Work by Ray Anthony Barrett

Work by Cara Despain

Work by Andrae Green

One room with sculpture by Margaret Griffith

Against Dystopia, the group exhibition at Diane Rosenstein curated by niko w. okuro, presents a variety of interesting work that speaks to the times we are living in.

The exhibition includes ten international artists representing twelve cities across the United Kingdom, Jamaica, and all five regions of the United States-  Ray Anthony Barrett, Ashanti Chaplin, Phoebe Collings-James, Cara Despain, Andrae Green, Margaret Griffith, Jane Chang Mi, Olivia “LIT LIV” Morgan, Esteban Ramón Pérez, and Adrienne Elise Tarver.

From the gallery-

Presented on the eve of the 2024 presidential election, Against Dystopia is ‘a far-reaching exhibition, both in terms of the diverse backgrounds and approaches of its featured artists, and the social, cultural, and geographic ecosystems those artists represent and critique,’ writes okoro, who is based in New Haven, CT. The exhibition ‘features artworks that inhabit a spectrum of anti-dystopian thought, from mobilizing conceptualism to overcome historic traumas and the precarity of the present, to envisioning future utopias against seemingly insurmountable odds.’

Against Dystopia transforms fear and anxiety surrounding the uncertainty of our shared future into a tangible site of hope—one where collective memory reminds us of our agency to enact change today, and rich cultural traditions empower us to imagine alternative futures. Of significance is the inclusion of artists who identify as multi hyphenates, playing numerous social roles within their communities, such as advocate, change agent, chef, documentarian, educator, father, filmmaker, mother, musician, oceanographer, researcher, and too many more to name.

Artworks are grouped into three thematic sections, each of which explores creative strategies of resistance and works against dystopia at all costs: field research, symbolic interactionism, and speculative fiction.

Ray Anthony Barrett (Missouri), Ashanti Chaplin (Oklahoma), Cara Despain (Utah/Florida), and Jane Chang Mi (Hawai‘i/California) use field research to map histories of frontierism, settler colonialism, and land politics onto ecological and socioeconomic systems today. With a focus on listening to the land and sea to both unearth and atone for difficult truths, these artists name and dismantle dystopian practices on the path to reconciliation. Embracing an appreciation for both hyperlocal traditions and the tenets of global citizenship, each underscores our shared duty to ensuring ecocultural sustainability and Earth’s habitability for future generations.

While Margaret Griffith (California), Olivia Morgan (New York), and Adrienne Elise Tarver (New York) work through markedly different mediums and styles, they share a fearlessness in addressing ongoing tensions and questions surfaced amidst the political firestorm of 2020. Embracing tenets of symbolic interactionism, or the theory that individuals shape and are shaped by society through daily interactions and the co-creation of meaning from symbols, these artists remind us of the power of human connection to bridge difference. Each steers towards social cohesion by processing collective grief and the enduring impacts of the 2020 presidential election, the proliferation of the COVID-19 pandemic, and the resurgence of the Black Lives Matter Movement respectively. Whereas Morgan and Griffith subvert symbols that often polarize rather than unite us within physical space—such as fences, face masks, and smartphones—Tarver reaches into the past to pull forth reimagined symbols that speak to our spiritual interdependence.

Phoebe Colling-James (United Kingdom), Andrae Green (Massachusetts/Jamaica) and Esteban Ramón Pérez (California) boldly envision alternative realities by using speculative fiction and symbolic allegory to sew threads of connection across time and space. Each resists linearity and subverts narrative tropes to instead materialize the fluid spiritual dimensions of lived experience. Through their layered ceramics, paintings, and sculptures, these artists mine the depths of their respective Jamaican/British, Jamaican/American, and Chicanx heritages to comment more broadly on social conditions today, prompting us to dream beyond what’s readily visible or knowable.

Against Dystopia opens concurrently with The Getty’s Pacific Standard Time: Art x Science x LA, which similarly explores, “opportunities for civic dialogue around some of the most urgent problems of our time by exploring past and present connections between art and science.” By convening an international group of visionary artists to help initiate these dialogues, Against Dystopia prompts viewers to pursue deeper understanding of shared challenges and solutions, on both the micro and macro levels.’

Below are a few more selections-

Photos by Olivia "LIT LIV" Morgan

Installation by Ashanti Chaplin

Work by Jane Chang Mi

Paintings by Andrae Green and sculpture by Phoebe Collings-James

Work by Margaret Griffith

This exhibition closes 11/2/24.

[cutepg]

The Essential Guide to CUET PG Sociology Syllabus 2025: What You Need to Know

As students gear up for the CUET PG Sociology exam, understanding the 2025 syllabus is essential to preparing effectively and efficiently. The CUET PG Sociology syllabus evaluates students' knowledge of fundamental sociological concepts, theories, research methods, and applied sociology. This guide provides a comprehensive breakdown of the CUET PG Sociology syllabus to help students easily navigate their preparation.

Overview of CUET PG Sociology Syllabus 2025

The CUET PG Sociology syllabus is structured to cover essential topics across various areas of sociology. The exam is designed to test both theoretical understanding and practical application. Here’s a breakdown of the key areas covered:

1. Foundations of Sociology

o The introductory part of the syllabus includes core sociological concepts such as society, culture, socialization, and structure.

o Basic theories, including functionalism, conflict theory, and symbolic interactionism, are also covered in this section.

o This foundation prepares students to understand how societies function and the factors that influence human behavior within social structures.

2. Social Stratification and Mobility

o This section deals with how society is divided by class, caste, race, and gender, and the impact of these divisions on individuals.

o Students will explore concepts of social mobility, social inequality, and the factors affecting upward and downward mobility.

o Key thinkers in stratification, such as Karl Marx, Max Weber, and Pierre Bourdieu, will be included in this segment.

3. Sociological Thinkers and Theories

o The CUET PG Sociology syllabus emphasizes a deep understanding of prominent sociological thinkers, such as Emile Durkheim, Max Weber, and Karl Marx.

o Theories related to social order, social change, and social conflict provide students with insights into various sociological perspectives and their relevance in contemporary society.

4. Research Methods in Sociology

o A significant portion of the syllabus is devoted to sociological research methods. Students will study qualitative and quantitative research techniques, including surveys, interviews, ethnography, and case studies.

o This section tests students' abilities to apply these methods to real-world scenarios, a skill critical for sociological research and analysis.

5. Sociology of India

o This area focuses on Indian society, covering topics like caste, family, kinship, and social institutions in India.

o Issues such as poverty, education, health, and development are explored in the context of Indian society.

o Students will also study sociologists who have contributed to Indian sociology, such as M.N. Srinivas, Andre Béteille, and G.S. Ghurye.

6. Globalization and Modernity

o This section discusses how globalization impacts cultural, economic, and social dimensions across the globe.

o Topics such as modernization, cultural diffusion, and the digital revolution are included.

o Students will also learn about the consequences of globalization on local and global levels, especially its effects on traditional societies and indigenous cultures.

7. Social Institutions and Processes

o Key social institutions, such as family, marriage, religion, and education, are explored in this section.

o Students will gain insight into how these institutions shape individuals' lives and contribute to the social order.

o Topics related to social change and transformation are also included, focusing on processes like urbanization, secularization, and technological advancements.

Tips for Preparing for the CUET PG Sociology Syllabus 2025

1. Understand Key Concepts and Theories: Make sure to have a strong understanding of fundamental sociological concepts and theories. Summarize each theory in your own words, and try to relate it to real-life scenarios to aid retention.

2. Stay Updated with Current Issues: Sociology is a subject that continuously evolves with societal changes. Keep yourself informed about current events and consider how they relate to sociological theories.

3. Practice with Past Papers: Solving previous years’ CUET PG Sociology papers will help you understand the type of questions asked and improve your time management skills during the exam.

4. Revise Regularly: Sociology has a vast syllabus, so regular revision is essential. Create notes for quick revisions and regularly revisit challenging topics.

5. Focus on Indian Sociology: A portion of the syllabus focuses on the sociology of India, so dedicate time to understanding India-specific topics and the contributions of Indian sociologists.

The CUET PG Sociology syllabus is comprehensive and requires a balanced approach between theoretical knowledge and practical understanding. By following a structured study plan and focusing on the critical areas mentioned above, students can confidently approach the CUET PG Sociology exam. This exam offers a unique opportunity to delve deep into the fabric of society, making it an excellent choice for those passionate about understanding and analyzing social structures and their impact on individuals.

Prepare well, and stay focused, and you’ll be well-equipped to tackle the CUET PG Sociology exam in 2025!

[studio-des-br]

Jitaku sekkei 自宅設計

自宅設計 (じたくせっけい, jitaku sekkei) can be translated as “Self home design”.

• 自宅 (jitaku) means “one’s own home” or “self-home.”

• 設計 (sekkei) means “design” or “planning.”

This phrase conveys the idea of designing one’s own home.

Etimologia

自宅設計 (じたくせっけい, jitaku sekkei) ou “Self home design” pode ser traduzido para o português brasileiro como "design da própria casa" ou "planejamento da própria casa".

• 自宅 (jitaku) significa significa "própria casa".

• 設計 (sekkei) significa “design” or “planejamento”

Ambos os termos são usados tanto no contexto da arquitetura quanto no design.

Psychology and anthropology of home design

The interior design of a home is a direct reflection of the homeowner's mindset, personality, tastes, opinions, and values. Psychological and anthropological frameworks can help us understand how and why these choices are meaningful.

1. Psychological Theories

Self-Identity and Environment (Symbolic Interactionism) The home is an extension of the self, with each design element symbolizing aspects of the homeowner's identity. The theory of Symbolic Interactionism by Mead suggests that individuals actively construct meaning through interactions with their environment. In this case, interior design becomes a medium through which individuals communicate their identity, values, and self-perception. Choices like minimalism or maximalism, color schemes, and furniture styles all convey personal narratives.

Environmental Psychology Environmental psychology studies how physical spaces influence human behavior and emotions. Design choices in a home, such as lighting, layout, and color, can reflect the homeowner's need for comfort, creativity, or security. Personalization of space (Altman & Gauvain) suggests that people create a sense of ownership and emotional connection through the adaptation of spaces to reflect personal values and identities. For example, a person valuing tranquility may opt for soft colors and natural materials, while someone prioritizing efficiency might prefer clean lines and modern design.

The Big Five Personality Traits According to the Big Five personality traits model (McCrae & Costa), personality influences behavior, including design choices. For example:

Openness to Experience: People high in this trait often choose eclectic, unique, or experimental designs.

Conscientiousness: These individuals are likely to opt for organized, orderly, and well-thought-out spaces.

Extraversion: Extroverts may create social spaces that encourage interaction, with bold colors and inviting furniture arrangements.

Agreeableness: Warm, cozy designs might appeal to agreeable individuals, fostering a sense of harmony.

Neuroticism: Those with high neuroticism may prefer safe, secure, and controlled spaces, often using neutral tones or clutter-free environments to manage anxiety.

Maslow’s Hierarchy of Needs Interior design also reflects an individual’s position within Maslow’s hierarchy of needs. For instance:

Physiological Needs: Basic furniture and practical layout reflect a focus on survival and daily functionality.

Safety Needs: Choices around home security, lighting, and stability reflect the homeowner's value for safety and control.

Belonging and Love: Family photos, communal spaces, and personal mementos indicate a focus on relationships and connection.

Esteem: Unique, luxury, or customized designs may express status, achievement, and self-worth.

Self-Actualization: A home that is a reflection of personal passions, creativity, or philosophical values might reflect the pursuit of self-actualization.

2. Anthropological Theories

Cultural Capital (Pierre Bourdieu) Bourdieu’s theory of cultural capital explains how design choices reflect class, education, and social position. The aesthetic tastes in a home (such as the preference for modern vs. traditional, minimalist vs. ornate) can signify cultural capital and the homeowner's desire to align with or differentiate from particular social groups. For instance, a home filled with contemporary art, books, and mid-century furniture might reflect high cultural capital and an intellectual or creative persona.

The Anthropology of Space (Edward T. Hall) Hall’s concept of proxemics examines how people structure their spaces in relation to cultural norms and personal comfort. For example, different cultures have different spatial preferences. In collectivist societies, communal areas are emphasized, while in individualistic cultures, private spaces might be more prevalent. A homeowner’s spatial arrangements might reflect these underlying cultural values, showing a preference for social interaction or solitude.

Ritual and Symbolism (Mary Douglas) Anthropologist Mary Douglas emphasized the symbolic role of homes as places where social rules and rituals are enacted. Design choices like a formal dining room or sacred spaces (e.g., shrines, meditation areas) symbolize the homeowner's values around family, tradition, or spirituality. Homes also reflect moral orders and boundaries; for example, a clutter-free space might symbolize control, while more chaotic environments may suggest flexibility or creativity.

Consumerism and Identity (Daniel Miller) In Miller's exploration of material culture, he argues that objects, including those in home interiors, are integral to how people create and express their identity. The consumer choices that shape home design—whether sustainable, luxury, minimalist, or maximalist—reflect not only personal taste but also broader social values like environmentalism, status, or authenticity.

3. Application of Theories to Home Design

Values and Sustainability A homeowner committed to environmental values might choose natural, recycled, or energy-efficient materials, reflecting a broader concern for sustainability and social responsibility. This is consistent with psychological concepts like values-based decision-making and anthropological ideas of cultural shifts toward sustainability.

Individualism vs. Collectivism A home designed for privacy, with separate rooms and individual spaces, reflects a more individualistic mindset, aligning with Western ideals of autonomy. In contrast, open-plan homes designed to facilitate family interaction or communal living reflect collectivist values. This dynamic ties into both proxemics and the psychological need for connection versus independence.

Minimalism and Zen A homeowner with a minimalist or Zen-inspired design reflects values of simplicity, mindfulness, and intentional living. This design choice can be linked to both psychological frameworks like cognitive simplicity (fewer stimuli, less clutter, leading to clearer thinking) and anthropological ideas of Eastern philosophies (e.g., Zen Buddhism) that emphasize balance, harmony, and detachment from material possessions.

Conclusion

Home interior design serves as a canvas where psychology and anthropology intersect, providing insights into the homeowner's identity, values, and cultural positioning. These choices are not merely aesthetic but are deeply rooted in psychological needs for expression, control, and connection, as well as anthropological understandings of status, cultural norms, and rituals. The home, therefore, acts as a mirror, reflecting the conscious and unconscious aspects of who we are and how we relate to the world.

Psicologia e antropologia do Design de Lares

As escolhas de design de interiores de uma casa refletem diretamente a mentalidade, personalidade, gostos, opiniões e valores do proprietário. Estruturas psicológicas e antropológicas podem nos ajudar a entender como e por que essas escolhas são significativas.

1. Teorias Psicológicas

Autoidentidade e Ambiente (Interacionismo Simbólico) A casa é uma extensão do eu, com cada elemento de design simbolizando aspectos da identidade do proprietário. A teoria do Interacionismo Simbólico, de Mead, sugere que os indivíduos constroem ativamente significados por meio de suas interações com o ambiente. Nesse caso, o design de interiores torna-se um meio pelo qual as pessoas comunicam sua identidade, valores e autoimagem. Escolhas como minimalismo ou maximalismo, esquemas de cores e estilos de móveis revelam narrativas pessoais.

Psicologia Ambiental A psicologia ambiental estuda como os espaços físicos influenciam o comportamento e as emoções humanas. As escolhas de design em uma casa, como iluminação, layout e cores, podem refletir a necessidade do proprietário de conforto, criatividade ou segurança. A personalização do espaço (Altman & Gauvain) sugere que as pessoas criam um senso de pertencimento e conexão emocional por meio da adaptação dos espaços para refletir seus valores e identidades pessoais. Por exemplo, uma pessoa que valoriza a tranquilidade pode optar por cores suaves e materiais naturais, enquanto alguém que prioriza a eficiência pode preferir linhas limpas e design moderno.

Os Cinco Grandes Traços de Personalidade De acordo com o modelo dos Cinco Grandes traços de personalidade (McCrae & Costa), a personalidade influencia o comportamento, incluindo as escolhas de design. Por exemplo:

Abertura à Experiência: Pessoas com alto grau desse traço tendem a escolher designs ecléticos, únicos ou experimentais.

Conscienciosidade: Esses indivíduos provavelmente preferem espaços organizados, ordenados e bem planejados.

Extroversão: Extrovertidos podem criar espaços sociais que incentivam a interação, com cores vibrantes e arranjos de móveis convidativos.

Amabilidade: Designs quentes e aconchegantes podem atrair pessoas amáveis, promovendo uma sensação de harmonia.

Neuroticismo: Aqueles com alto neuroticismo podem preferir espaços seguros, controlados e previsíveis, muitas vezes utilizando tons neutros ou ambientes sem desordem para lidar com a ansiedade.

Pirâmide de Necessidades de Maslow O design de interiores também reflete a posição do indivíduo na pirâmide de necessidades de Maslow. Por exemplo:

Necessidades Fisiológicas: Móveis básicos e um layout prático refletem um foco na sobrevivência e funcionalidade diária.

Necessidades de Segurança: Escolhas relacionadas à segurança da casa, iluminação e estabilidade refletem o valor do proprietário por controle e proteção.

Necessidades de Pertencimento e Amor: Fotos de família, espaços comuns e lembranças pessoais indicam um foco em relacionamentos e conexão.

Necessidades de Estima: Designs únicos, de luxo ou personalizados podem expressar status, conquista e autoestima.

Autoatualização: Uma casa que reflete paixões pessoais, criatividade ou valores filosóficos pode indicar a busca pela autoatualização.

2. Teorias Antropológicas

Capital Cultural (Pierre Bourdieu) A teoria do capital cultural de Bourdieu explica como as escolhas de design refletem classe, educação e posição social. Os gostos estéticos em uma casa (como a preferência por moderno versus tradicional, minimalista versus ornamentado) podem significar capital cultural e o desejo do proprietário de alinhar-se ou diferenciar-se de determinados grupos sociais. Por exemplo, uma casa repleta de arte contemporânea, livros e móveis de meados do século pode refletir um alto capital cultural e uma persona intelectual ou criativa.

A Antropologia do Espaço (Edward T. Hall) O conceito de proxêmica de Hall examina como as pessoas estruturam seus espaços em relação às normas culturais e ao conforto pessoal. Por exemplo, diferentes culturas têm diferentes preferências espaciais. Em sociedades coletivistas, as áreas comuns são enfatizadas, enquanto em culturas individualistas, os espaços privados podem ser mais prevalentes. As disposições espaciais do proprietário podem refletir esses valores culturais subjacentes, mostrando uma preferência por interação social ou privacidade.

Ritual e Simbolismo (Mary Douglas) A antropóloga Mary Douglas enfatizou o papel simbólico das casas como lugares onde as regras sociais e os rituais são realizados. Escolhas de design, como uma sala de jantar formal ou espaços sagrados (por exemplo, altares, áreas de meditação), simbolizam os valores do proprietário em torno de família, tradição ou espiritualidade. As casas também refletem ordens morais e limites; por exemplo, um espaço livre de desordem pode simbolizar controle, enquanto ambientes mais caóticos podem sugerir flexibilidade ou criatividade.

Consumismo e Identidade (Daniel Miller) Na exploração de Miller sobre a cultura material, ele argumenta que os objetos, incluindo os presentes nos interiores domésticos, são fundamentais para a forma como as pessoas criam e expressam sua identidade. As escolhas de consumo que moldam o design da casa — sejam sustentáveis, luxuosas, minimalistas ou maximalistas — refletem não apenas o gosto pessoal, mas também valores sociais mais amplos, como ambientalismo, status ou autenticidade.

3. Aplicação das Teorias ao Design de Interiores

Valores e Sustentabilidade Um proprietário comprometido com valores ambientais pode escolher materiais naturais, reciclados ou energeticamente eficientes, refletindo uma preocupação mais ampla com a sustentabilidade e responsabilidade social. Isso é consistente com conceitos psicológicos como a tomada de decisão baseada em valores e ideias antropológicas sobre mudanças culturais em direção à sustentabilidade.

Individualismo versus Coletivismo Uma casa projetada para privacidade, com quartos separados e espaços individuais, reflete uma mentalidade mais individualista, alinhando-se com os ideais ocidentais de autonomia. Em contraste, casas com planta aberta projetadas para facilitar a interação familiar ou a vida comunitária refletem valores coletivistas. Essa dinâmica está ligada tanto à proxêmica quanto à necessidade psicológica de conexão versus independência.

Minimalismo e Zen Um proprietário com um design minimalista ou inspirado no Zen reflete valores de simplicidade, atenção plena e vida intencional. Essa escolha de design pode estar ligada tanto a estruturas psicológicas como a simplicidade cognitiva (menos estímulos, menos desordem, levando a um pensamento mais claro) quanto a ideias antropológicas de filosofias orientais (por exemplo, o Budismo Zen), que enfatizam equilíbrio, harmonia e desapego de posses materiais.

Conclusão

O design de interiores de uma casa serve como uma tela onde a psicologia e a antropologia se intersectam, oferecendo insights sobre a identidade, os valores e o posicionamento cultural do proprietário. Essas escolhas não são meramente estéticas, mas estão profundamente enraizadas em necessidades psicológicas de expressão, controle e conexão, bem como em entendimentos antropológicos de status, normas culturais e rituais. A casa, portanto, atua como um espelho, refletindo os aspectos conscientes e inconscientes de quem somos e como nos relacionamos com o mundo.

Psychological and existential issues of Home Design

Designing your own home interior can serve as a powerful means to reflect and uncover psychological and existential issues. Through the choices made in creating personal spaces, individuals inadvertently reveal deep-seated desires, unresolved conflicts, and existential dilemmas. Various psychological and anthropological frameworks provide insights into how this process unfolds and why it is so telling.

1. Psychological Theories

Self-Reflection and Personal Growth (Carl Rogers’ Person-Centered Theory) Carl Rogers’ person-centered theory posits that individuals strive toward self-actualization and congruence, meaning the alignment between their perceived self and ideal self. In designing their own home, people externalize this process by creating spaces that either reflect who they are or who they aspire to become. A stark mismatch between a person’s home environment and their internal sense of self can reveal areas of psychological tension. For example, someone designing a chaotic, cluttered space may be struggling with a sense of inner chaos or anxiety, whereas an overly sterile space might point to issues with control or emotional suppression.

Environmental Psychology and Well-being (Place Identity) Environmental psychology looks at the interaction between individuals and their surroundings, with the concept of place identity explaining how spaces become intertwined with one’s self-concept. When people actively engage in designing their homes, they are not just arranging objects, but constructing an environment that embodies their psychological and emotional states. Unconsciously, design decisions may expose issues related to self-esteem, sense of belonging, or even unresolved traumas. For example, a person who excessively isolates their private space from social areas might be reflecting feelings of loneliness or difficulty with relationships.

Existentialism and Freedom (Sartre and Existential Psychology) From an existentialist perspective, as articulated by philosophers like Jean-Paul Sartre, creating one’s home interior is an act of radical freedom—a manifestation of the choices that define one’s existence. The process of designing a home can thus bring to the surface the existential anxieties around freedom, responsibility, and meaning. A homeowner facing paralysis in decision-making may be grappling with the existential burden of freedom and the fear of making the wrong choices, which could reflect deeper feelings of uncertainty or the absence of clear life direction.

Personal Meaning and Emotional Processing (Attachment Theory) Attachment theory, originally developed by John Bowlby, is used in the context of home design to understand how people create spaces that meet their emotional needs. Homes designed for comfort and security might indicate a strong emotional need for stability, stemming from earlier attachment patterns. A disorganized or temporary living situation may reflect unresolved issues of emotional instability or transience in one’s life. The way someone arranges their home can reveal how they are processing emotions related to safety, loss, or connection to others.

Jungian Archetypes and the Shadow Carl Jung’s concept of the shadow, the unconscious part of the psyche that contains repressed elements of the self, can also be explored through interior design. The choices people make, such as avoiding certain colors, objects, or room functions, can be indicative of the parts of themselves they are unwilling to confront. For example, a person who avoids personalizing their home, leaving it undecorated or impersonal, might be avoiding an engagement with deeper emotional truths or internal conflicts. The home becomes a projection of the individual’s conscious and unconscious psyche, with certain design decisions pointing to unintegrated aspects of their personality.

2. Anthropological Theories

Ritual and Meaning (Victor Turner’s Liminality) Anthropologist Victor Turner’s concept of liminality describes the transitional state of being between one stage and another. Designing one’s home can be seen as a liminal process, particularly when individuals are going through significant life changes such as marriage, parenthood, or retirement. The home, in this context, becomes a space where existential questions about identity, roles, and purpose come to the forefront. How a person navigates this liminal phase through their design choices—whether they cling to the past or embrace the future—can reflect how they are processing change and transition in their life.

Material Culture and Identity (Daniel Miller) Daniel Miller’s work on material culture argues that objects are not neutral; they are imbued with social and personal meaning. In home design, each item chosen is a reflection of the homeowner’s relationship to their material world, which in turn reflects deeper psychological and existential issues. For example, a person who collects items excessively may be dealing with existential concerns about legacy, memory, or mortality, while someone who rejects material accumulation in favor of minimalism might be seeking freedom from existential anxieties tied to possessions or societal expectations.

Space and Social Identity (Bourdieu’s Habitus) Pierre Bourdieu’s concept of habitus refers to the deeply ingrained habits, skills, and dispositions that individuals acquire through their life experiences, shaping how they perceive and engage with the world. When designing their home, individuals are expressing not only their personal identity but also their social identity. Their choices in design, from furniture styles to room configurations, reflect their internalized values, upbringing, and societal position. A stark departure from traditional designs might indicate a desire to break free from certain social norms or to redefine one’s identity in opposition to past experiences.

Existential Territoriality (Yi-Fu Tuan’s Topophilia) Yi-Fu Tuan’s concept of topophilia refers to the emotional connections people have to places. Designing a home is an act of territoriality, wherein individuals stake a claim to a space that represents their psychological landscape. The process of designing this space can expose existential anxieties around belonging, control, and identity. A person who designs their home to be an impenetrable fortress, for instance, may be manifesting a psychological need for control and autonomy, possibly reflecting deeper fears of vulnerability or abandonment.

3. Application of Theories to Interior Design and Psychological Insights

Processing Trauma through Space Many psychological theories suggest that individuals project their inner experiences onto their environments. People who have experienced trauma may create homes that either buffer against or reflect that trauma. A hyper-organized space with strong boundaries might indicate a coping mechanism for underlying chaos or past instability. Alternatively, a chaotic space may reflect unresolved trauma, indicating difficulty in establishing control or order.

Unresolved Conflicts and Space Use The way individuals design and utilize space in their homes can bring attention to unresolved psychological conflicts. For example, leaving certain rooms unused or neglected can represent avoidance of certain emotions or life areas, such as relationships or personal growth. Alternatively, overemphasizing certain areas, such as home offices or entertainment spaces, may point to imbalances in life, such as workaholism or escapism.

Design as a Search for Meaning Existentialist theories suggest that designing one’s home is a way of grappling with meaning in life. How people arrange their homes can reveal their existential concerns. Some individuals might create sacred spaces—such as reading corners, meditation areas, or places for family rituals—as a way to search for meaning, stability, and connection in an uncertain world. The absence of such spaces may reflect a deeper struggle with existential questions or a sense of disconnectedness.

Conclusion

Designing one's home is not just a practical task; it is a reflection of deeper psychological and existential issues. Through a blend of psychological frameworks such as self-identity, environmental psychology, existential freedom, and attachment theory, and anthropological perspectives like ritual, material culture, and social identity, the home becomes a canvas that mirrors the complexities of human existence. The design choices individuals make are both expressions of personal growth and struggles with larger existential questions, making the home a space that exposes the intricate relationship between the inner self and the outer world.

Questões psicológicas e existenciais do Design de Lares

Projetar a ambientação de própria casa pode ser uma maneira poderosa de refletir e revelar questões psicológicas e existenciais. Através das escolhas feitas na criação de espaços pessoais, as pessoas inadvertidamente expõem desejos profundos, conflitos não resolvidos e dilemas existenciais. Diversas estruturas psicológicas e antropológicas oferecem insights sobre como esse processo ocorre e por que ele é tão revelador.

1. Teorias Psicológicas

Auto-reflexão e Crescimento Pessoal (Teoria Centrada na Pessoa de Carl Rogers) A teoria centrada na pessoa de Carl Rogers postula que os indivíduos buscam a autoatualização e a congruência, ou seja, o alinhamento entre o eu percebido e o eu ideal. Ao projetar sua própria casa, as pessoas externalizam esse processo, criando espaços que refletem quem são ou quem aspiram a ser. Uma discrepância clara entre o ambiente doméstico de uma pessoa e seu senso interno de si pode revelar áreas de tensão psicológica. Por exemplo, alguém que projeta um espaço caótico e desorganizado pode estar lidando com um senso interno de caos ou ansiedade, enquanto um espaço excessivamente estéril pode apontar para questões de controle ou repressão emocional.

Psicologia Ambiental e Bem-estar (Identidade de Lugar) A psicologia ambiental examina a interação entre as pessoas e seus ambientes, com o conceito de identidade de lugar explicando como os espaços se entrelaçam com o autoconceito de uma pessoa. Quando as pessoas se envolvem ativamente no design de suas casas, não estão apenas organizando objetos, mas construindo um ambiente que incorpora seus estados psicológicos e emocionais. Inconscientemente, as decisões de design podem expor questões relacionadas à autoestima, senso de pertencimento ou até traumas não resolvidos. Por exemplo, uma pessoa que isola excessivamente seu espaço privado das áreas sociais pode estar refletindo sentimentos de solidão ou dificuldade nos relacionamentos.

Existencialismo e Liberdade (Sartre e Psicologia Existencial) Sob uma perspectiva existencialista, conforme articulada por filósofos como Jean-Paul Sartre, criar o interior de sua casa é um ato de liberdade radical — uma manifestação das escolhas que definem a existência de uma pessoa. O processo de projetar uma casa pode trazer à tona as ansiedades existenciais em torno da liberdade, responsabilidade e significado. Um proprietário que enfrenta uma paralisia nas decisões de design pode estar lidando com o fardo existencial da liberdade e o medo de tomar decisões erradas, o que pode refletir sentimentos mais profundos de incerteza ou ausência de direção na vida.

Significado Pessoal e Processamento Emocional (Teoria do Apego) A teoria do apego, originalmente desenvolvida por John Bowlby, é aplicada no contexto do design de interiores para entender como as pessoas criam espaços que atendem às suas necessidades emocionais. Casas projetadas para conforto e segurança podem indicar uma forte necessidade emocional de estabilidade, decorrente de padrões de apego anteriores. Uma situação de vida desorganizada ou temporária pode refletir questões não resolvidas de instabilidade emocional ou transitoriedade na vida de alguém. A forma como alguém organiza sua casa pode revelar como está processando emoções relacionadas à segurança, perda ou conexão com os outros.

Arquétipos Junguianos e a Sombra O conceito de sombra de Carl Jung, a parte inconsciente da psique que contém elementos reprimidos do eu, também pode ser explorado através do design de interiores. As escolhas que as pessoas fazem, como evitar certas cores, objetos ou funções de cômodos, podem ser indicativas das partes de si mesmas que elas não estão dispostas a enfrentar. Por exemplo, uma pessoa que evita personalizar sua casa, deixando-a sem decoração ou impessoal, pode estar evitando um engajamento com verdades emocionais mais profundas ou conflitos internos. A casa torna-se uma projeção da psique consciente e inconsciente do indivíduo, com certas decisões de design apontando para aspectos não integrados de sua personalidade.

2. Teorias Antropológicas

Ritual e Significado (Liminalidade de Victor Turner) O conceito de liminalidade do antropólogo Victor Turner descreve o estado de transição entre um estágio e outro. Projetar uma casa pode ser visto como um processo liminar, especialmente quando as pessoas estão passando por mudanças significativas na vida, como casamento, parentalidade ou aposentadoria. A casa, nesse contexto, torna-se um espaço onde questões existenciais sobre identidade, papéis e propósito vêm à tona. A maneira como uma pessoa navega por essa fase liminar através de suas escolhas de design — se apega ao passado ou abraça o futuro — pode refletir como ela está processando mudanças e transições em sua vida.

Cultura Material e Identidade (Daniel Miller) O trabalho de Daniel Miller sobre cultura material argumenta que os objetos não são neutros; eles são carregados de significado social e pessoal. No design de interiores, cada item escolhido é um reflexo da relação do proprietário com o mundo material, que por sua vez reflete questões psicológicas e existenciais mais profundas. Por exemplo, uma pessoa que acumula itens excessivamente pode estar lidando com preocupações existenciais sobre legado, memória ou mortalidade, enquanto alguém que rejeita a acumulação material em favor do minimalismo pode estar buscando liberdade de ansiedades existenciais ligadas a posses ou expectativas sociais.

Espaço e Identidade Social (Habitus de Bourdieu) O conceito de habitus de Pierre Bourdieu refere-se aos hábitos, habilidades e disposições profundamente enraizados que os indivíduos adquirem ao longo de suas experiências de vida, moldando como percebem e interagem com o mundo. Ao projetar sua casa, os indivíduos expressam não apenas sua identidade pessoal, mas também sua identidade social. Suas escolhas de design, desde estilos de móveis até a configuração dos cômodos, refletem seus valores internalizados, criação e posição social. Um afastamento radical de designs tradicionais pode indicar um desejo de se libertar de certas normas sociais ou redefinir sua identidade em oposição a experiências passadas.

Territorialidade Existencial (Topofilia de Yi-Fu Tuan) O conceito de topofilia de Yi-Fu Tuan refere-se às conexões emocionais que as pessoas têm com os lugares. Projetar uma casa é um ato de territorialidade, em que os indivíduos reivindicam um espaço que representa seu cenário psicológico. O processo de projetar esse espaço pode expor ansiedades existenciais em torno de pertencimento, controle e identidade. Uma pessoa que projeta sua casa como uma fortaleza impenetrável, por exemplo, pode estar manifestando uma necessidade psicológica de controle e autonomia, possivelmente refletindo medos mais profundos de vulnerabilidade ou abandono.

3. Aplicação das Teorias ao Design de Interiores e Insights Psicológicos

Processamento de Trauma através do Espaço Muitas teorias psicológicas sugerem que os indivíduos projetam suas experiências internas em seus ambientes. Pessoas que passaram por traumas podem criar casas que tanto protegem contra o trauma quanto o refletem. Um espaço hiperorganizado, com limites fortes, pode indicar um mecanismo de enfrentamento para o caos subjacente ou instabilidade passada. Alternativamente, um espaço caótico pode refletir um trauma não resolvido, indicando dificuldade em estabelecer controle ou ordem.

Conflitos Não Resolvidos e Uso do Espaço A forma como os indivíduos projetam e utilizam o espaço em suas casas pode chamar atenção para conflitos psicológicos não resolvidos. Por exemplo, deixar certos cômodos desocupados ou negligenciados pode representar a evitação de certas emoções ou áreas da vida, como relacionamentos ou crescimento pessoal. Por outro lado, enfatizar excessivamente certas áreas, como escritórios domésticos ou espaços de entretenimento, pode apontar para desequilíbrios na vida, como excesso de trabalho ou escapismo.

Design como uma Busca de Significado As teorias existencialistas sugerem que projetar a própria casa é uma maneira de lidar com o significado na vida. A forma como as pessoas organizam suas casas pode revelar suas preocupações existenciais. Algumas pessoas podem criar espaços sagrados — como cantos de leitura, áreas de meditação ou lugares para rituais familiares — como uma maneira de buscar significado, estabilidade e conexão em um mundo incerto. A ausência desses espaços pode refletir uma luta mais profunda com questões existenciais ou um senso de desconexão.

Conclusão

Projetar a própria casa não é apenas uma tarefa prática; é uma reflexão de questões psicológicas e existenciais mais profundas. Através de uma combinação de estruturas psicológicas como autoidentidade, psicologia ambiental, liberdade existencial e teoria do apego, e perspectivas antropológicas como ritual, cultura material e identidade social, a casa torna-se uma tela que espelha as complexidades da existência humana. As escolhas de design que os indivíduos fazem são tanto expressões de crescimento pessoal quanto de lutas com questões existenciais maiores, fazendo da casa um espaço que expõe a intrincada relação entre o eu interior e o mundo exterior.

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Philipp Rupprech: Contributions to Social Constructionism, Symbolic Interactionism, and Postmodernism

Philipp Rupprech is a prominent figure in the field of sociology and has contributed significantly to the development of key theories that have shaped modern sociological thought. His work has had a lasting impact on our understanding of society and the ways in which individuals interact within it. One of Rupprech's key theories is the concept of social constructionism. This theory posits that individuals and societies create their own reality through shared beliefs, symbols, and practices. Rupprech argues that our perceptions of reality are not fixed, but are instead constructed and negotiated through social interactions. This perspective challenges traditional views of reality as being objective and immutable, and emphasises the role of language, culture, and power dynamics in shaping our understanding of the world. Another important theory developed by Rupprech is the notion of symbolic interactionism. This theory focuses on the ways in which individuals create and interpret symbols to make meaning of their social interactions. Rupprech argues that symbols are central to the construction of social reality, as they provide a framework through which individuals can communicate, negotiate identities, and navigate social hierarchies. This theory highlights the importance of language, communication, and symbolism in shaping our social experiences and interactions. Rupprech's work also contributes to the field of postmodernism, challenging traditional sociological theories that rely on grand narratives and universal truths. He argues that social reality is fragmented, constantly shifting, and contingent upon the cultural, historical, and social context in which it is situated. Rupprech's postmodern perspective emphasises the importance of recognising and valuing diverse perspectives, as well as the fluid and contingent nature of social reality. In conclusion, Philipp Rupprech's key theories have had a profound impact on the field of sociology, challenging traditional understandings of reality, identity, and social interactions. His work has pushed the boundaries of sociological thought and continues to inspire scholars to reexamine and rethink the ways in which society is structured and experienced. Read the full article

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Latest Issue: Symbolic Interaction Vol.47 No.2 #sssi #emca #sociology #interactionism @WileySociology

INVITED PAPER Concept-Driven Sociology Eviatar Zerubavel Pages: 123-141 ORIGINAL ARTICLES On Doing Concept-Driven Sociology Wayne H. Brekhus,  Lorenzo Sabetta Pages: 142-160 Mononormativity: The Social Elevation of the Singular Armani Beck PhD Pages: 161-177   Banishment, Grounding, and Excommunication: A Typology of Punitive Isolation Juliana de Oliveira Horst Pages: 178-199 When…

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Did video kill the radio star?

Many individuals and fitness facilities use music-video as an accompaniment to exercise. Its judicious use can reduce perceived exertion (by ~10%), elevate exercise-related affect and generally make the exercise experience more pleasurable.

There has, however, been a lack of theory to inform the application of music-video in the exercise context, and so we sought to address this with a grounded theory that was published in Research Quarterly for Exercise and Sport. Our grounded theory approach was underpinned by pragmatism and symbolic interactionism.

The data from this study with Dr Jonathan Bird (University of Exeter) led us to a three-stage substantive theory (see figure) that commences with the content of the music-video channel. The second stage depicts a series of moderators (e.g., exercise factors, temporal factors) that revolve around the core category: appraisal of the appropriateness of channel content. Lastly, a range of effects pertaining to exercisers and facility staff are predicted, and relevant social processes are expounded.   

Gold open access: https://www.tandfonline.com/doi/full/10.1080/02701367.2019.1680788