thedigitalcommmunity

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Digital Citizenship and Conflict: Social Media Governance

As social media has transformed from the initial social tool of bringing communities together, recent developments of its governance has been a contentious debate. The recent escalation of the Israeli Palestinian conflict demonstrates the lack of governance by social media organisations. Misinformation shared on these platforms have a potential to harm and skew the perspectives of those involved in the conflict. The concept of gaslighting is practiced in this event. According to Jennifer Huizen (2020), gaslighting is defined as a form of psychological abuse where a person or group makes someone question their sanity, perception of reality, or memories. These people can often experience confusion, anxiety and a distrust of themselves.

The Israel-Palestinian conflict occurring in May 2021 continues the misinformation trend that has been growing for the past few years. For example, a spokesman for the Prime Minister of Israel had shown the public a 28-second video of Palestinian militants appearing to launch rocket attacks towards Israelis from densely population areas. However, as the footage was later shared hundred of times, the footage was found to be current and not from where the conflict is presently occurring in Gaza. Rather, the video was identified to be recorded in 2018 with militants firing the rockets from Syria or Libya not Gaza. This idea is particularly conveyed by political analyst and researcher, Arieh Kovler who states, “what makes it more confusing is that it is a mix of false claims and genuine stuff, which is being attributed to the wrong place or the wrong times” (International New York Times, 2021). As illustrated, this statement portrays elements of gaslighting leading to individuals to question their perception of reality. Thus, individuals are unable to interpret of what is currently happening, further heightening tensions for conflict to occur between the two social groups. As the potential for conflict between social groups continues to grow, the need for governance on these social media platforms is necessary for avoidance.

References

Gleeson, J 2018, Explainer: what does ‘gaslighting’ mean?, The Conversation, viewed 17 May 2021, <https://theconversation.com/explainer-what-does-gaslighting-mean-107888>.

Huizen, J 2020, What is gaslighting?, Healthline Media UK Ltd, viewed 17 May 2021, <https://www.medicalnewstoday.com/articles/gaslighting>.

International New York Times 2021, Lies on social media inflame Israeli-Palestinian conflict, Deccan Herald, viewed 17 May 2021, <https://www.deccanherald.com/international/world-news-politics/lies-on-social-media-inflame-israeli-palestinian-conflict-986108.html>.

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Digital Citizenship: Social Media Influencers and Slow Fashion Movement

Accounting for 10% of the world’s carbon emissions, the emergence of the slow fashion is a movement that opposes the unsustainable practices that are conducted by the industry (McFall-Johnsen, 2020). The movement pertains on the idea of ‘sustainable fashion’, defined as good and services that respond to the basic needs and bring a better quality of life, while minimizing the use of natural resources, toxic materials and emissions of waste and pollutants over the life cycle as to not jeopardize the needs of future generations. (IISD 2015 in Lai). By 2030, the apparel industry is expected to have an increase of 49% in carbon emissions which means that the sector will emit 4.9 metric gigatons of CO2 (Zeitgeist 2020). This is equivalent to the annual carbon emissions that are being emitted into the atmosphere by the United States today.

Responding to the unsustainable environmental practices of these apparel corporations, social media influencers worldwide have been on the forefront of this battle to convert individuals to uptake more environmentally sustainable fashion practices. One of those individuals is Melbourne-based Leah, who is a slow fashion activist advocating that living a minimalist lifestyle and wear fashion that is sustainable is attainable for any girl. On her blog, Leah states that the most important form for transitioning to a sustainable fashion lifestyle is to be “considering the materials and fabrics used to create garments as a great step to being more sustainable” (Leah 2021). Some examples that she mentions include using more natural fibres and fabrics like linen, organic cotton and silk as opposed to polyester which is fundamentally plastic. As the world looks to adopt ways to limit global warming to well below 2 degrees Celsius by 2050 (United Nations, 2021). Transitioning to a more sustainable fashion lifestyle is one of the many ways that individuals can contribute to reduce their carbon footprint on the planet.

References

Claire 2019,What is Polyester? The 8 Most Vital Questions Answered, Contrado, viewed 7 May 2021, < https://www.contrado.co.uk/blog/what-is-polyester-a-closer-look-into-this-love-it-or-hate-it-fabric/>.

Instagram 2021, The Unmaterial Girl, Instagram, viewed 7 May 2021, < https://www.instagram.com/unmaterialgirl/>.

Leah 2021, Student Interviews, Unmaterial Girl, viewed 7 May 2021, < http://www.unmaterialgirl.com/index.php/student-interviews/>.

McFall-Johnsen, M 2020, These facts shows how unsustainable the fashion industry is, World Economic Forum, viewed 7 May 2021, < https://www.weforum.org/agenda/2020/01/fashion-industry-carbon-unsustainable-environment-pollution/>.

United Nations 2021, The Paris Agreement, United Nations Framework Convention on Climate Change, viewed 7 May 2021, <https://unfccc.int/process-and-meetings/the-paris-agreement/the-paris-agreement>.

Zeitgeist 2020, 10 Must-Know Fast Fashion Statistics & Not-So-Fun Facts, Zeitgeist, viewed 7 May 2021, < https://wearzeitgeist.com/fashion-sustainability-ethics/fast-fashion-statistics>.

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

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Gaming Communities, Social Gaming and Live Streaming

According to Merriam-Webster (2021), the term ‘community’ can be attributed to various definitions. For the contextual purposes of this blog, the definition of ‘a body of person or nations having a common history or common social, economic, and political interests will be used. Like with any recent developments that have occurred in society, the rapid growth of game live streaming is an area that has outsiders in the mainstream general public profoundly intrigued. With live streaming platform, Twitch taking up 67.6% market share as of Q2 2020 and hosting 500,000 active streamers a day. One cannot disagree of the impact of both gaming and live streaming have on society (Restream, 2020).

Before examining Twitch as a community, it is important to highlight Taylor (2018, p. 13) who states that “play and gaming are deeply connected to the things that matter and impact our lives. This means, ultimately, that gaming is a civic space, political domain, media sphere, and site of critical work, while simultaneously being a place of leisure, even rest and respite. In consideration of this statement by Taylor and the initial definition of a ‘community’, the reasons of why one spectates a streamer will be explored. According to a survey, the results found that feeling a sense of community in the watching experience not only increases how much people watch streams, but perhaps more importantly, was also the strongest determinant of following streamers and subscribing (Sjöblom & Hamari 2017, p. 993). Therefore, in the context of game live streaming, the social aspect of belonging to a community within the platform is a fundamental reason that ones participate in the activity. With the expansion of newer technologies in the augmented reality and virtual reality space, the sense of community within the gaming space will be studied for years to come.

References

Merriam-Webster 2021, Community, Merriam-Webster, viewed 1 May 2021, < https://www.merriam-webster.com/dictionary/community>.

Restream 2020, 61 streaming stats you should know in 2021, Restream Inc, viewed 1 May 2021, < https://restream.io/blog/live-streaming-statistics/>.

Sjöblom, M & Hamari, J 2017, ‘Why do people watch others play video games? An empirical study on the motivations of Twitch users’, Computers in human behaviour, vol.75, pp. 985-996.

Taylor, TL 2018, ‘Broadcasting ourselves’ (chapter 1), in Watch Me Play: Twitch and the Rise of Game Live Streaming, Princeton University Press, pp.1-23.

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Digital Citizenship and Software Literacy: Instagram Filters

‘Digital Dysmorphia’, a term coined by Isabelle Coy-Dibley (2016) is defined as the altering of supposedly undesirable parts of the self through modification and supposed fixing of the visual or virtual appearance of an individual’s self through various apps. In her article, Coy-Dibley states that this term is shared with Body Dysmorphic Disorder (BDD) whereby, individuals are concerned with some aspect of their appearance that they consider ugly, unattractive or “not right” in some way. It is not difficult to see how the disorder has had on an impact on the digital space. In the advent of the COVID-19 pandemic in the United States in 2020 and as social distance became practiced, ‘Facetune’, had generated an increase of 20% in the use of its app by users. The editing app turns your face and body into digital Play-Doh, to mold, pinch, and add volume wherever you want (Rodulfo, 2020). It is simple to conclude that this disorder is rampant globally and is an issue that will debated as social media use grows with every single year.

However, Coy-Dibley (2016) points out that this disorder not only affects women but also men. She quotes that “there has been a growing preoccupation with weight and body image in men, which parallels this increased ‘visibility’ of the male body.” Although not as evident as that of women, this can be seen in the engagement of physical activity by males in Australia. According to the Australian Institute of Health and Welfare (2019), they state that in the 2017–18 survey period, 50% of men aged 18 and over were sufficiently physically active and 1 in 4 men (25%) did strength or toning activities on 2 or more days. Moreover, 30% of Australians have a gym membership (Physical Activity Australia, 2019). Therefore, it has been demonstrated that although men do not often exhibit images that manipulate their image on social media. Although they do take efforts to improve their image such as going to the gym which I myself am currently attending often.

References

Australian Institute of Health and Welfare 2019, The health of Australia’s males, Australian Government, viewed 22 April 2021, < https://www.aihw.gov.au/reports/men-women/male-health/contents/lifestyle-and-risk-factors/physical-activity>.

Coy-Dibley, I 2016, “Digitised Dysmorphia” of the Female Body: The Re/Disfigurement of the Image, Palgrave Communications.

Physical Activity 2019, Gyms and Fitness Centres in Australia – Market Research Report, Physical Activity Australia, viewed 22 April 2021, < https://www.physicalactivityaustralia.org.au/gyms-and-fitness-centres-in-australia-market-research-report/#:~:text=Around%2030%20per%20cent%20of,activities%20in%20full%2Dservice%20gyms.>.

Rodulfo, K 2020, How Face Filters on Instagram, Facetune Affect Mental Health, Women’s Health, viewed 22 April 2021, < https://www.womenshealthmag.com/beauty/a33264141/face-filters-mental-health-effect/>.

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Digital Citizenship and Health Education: Body Modification on Visual Social Media

With the growing use of Instagram, synonymous as being another activity that we undertake in our daily life. The growth of plastic surgery coincides with this development. In a study done in 2017 by the American Academy of Facial and Plastic Reconstructive Surgery, they found 42% of surgeons reporting that patients are seeking aesthetic surgery to improve their appearance on Instagram, Snapchat, Facebook and other social media channels (Dorfman et al 2017, p 333).

Although this surging trend of plastic surgery use has been present in South Korea for the past decade. Despite the occurrence of the pandemic in South Korea, demand for facial surgery operations had grown where data sourced from Gangnam Unni showed that their users had grown to about 2.6 million users, an increase of 63% from the year previously. Much of this growth is exemplary of the “lookism” phenomenon that exists in the country, whereby it is defined as prejudice or discrimination based on physical appearance believed to fall short of societal notions of beauty. A study done by Park, Myers and Langstein (2019) found that 60% of respondent in their survey found that they had pursued plastic surgery because of personal dissatisfaction with external appearance. This is of relative concern as South Korean beauty standards are strict, prioritising a small face, big eyes, pale skin and a slim figure. Bae Joo-hyun (Irene), a member of KPOP group Red Velvet demonstrates these standards in Figure 1. Similarly, Figure 2 illustrates influencer Su-min Nam who also aligns with these standards. Therefore, the aesthetic template that exists on Instagram in South Korea both for individuals and influencers alike often meet the requirements that have been exacerbated by the “lookism” phenomenon. Although both the United States and South Korea are culturally different, similar ideals of one’s appearance on social media can be observed.

Figure 1.

Figure 2.

References

Merriam-Webster 2021, Lookism, Merriam-Webster Incorporated, viewed 15 April 2021, <https://www.merriam-webster.com/dictionary/lookism>.

Park, R, Myers, P, Langstein, H 2019, ‘Beliefs and trends of aesthetic surgery in South Korean adults’, Archives of Plastic Surgery, vol.46, no 6, pp. 612-616.

Robert G Dorfman, Elbert E Vaca, Eitezaz Mahmood, Neil A Fine and Clark F Schierle, ‘Plastic Surgery-Related Hashtag Utilization on Instagram: Implications for Education and Marketing’, Aesthetic Surgery Journal, Volume 38, Issue 3, March 2018, pp 332–338

Sabalionis, A 2019, Top 17 Korean Instagram Influencers – A Deeper Look, Medium, viewed 15 April 2021, < https://medium.com/ajmarketing-blog/20-korean-instagram-influencers-deeper-look-b3e08cf8628a>.

Seoul Cosmetic Surgery 2021, Korean Beauty Standards: A Cultural Contrast on Ideal Beauty, Seoul Cosmetic Surgery, viewed 15 April 2021, < https://seoulcosmeticsurgery.com/korean-beauty-standards-a-cultural-contrast-on-ideal-beauty/>.

Roh, J 2020, Cosmetic Surgeries Rise in South Korea During Pandemic, VOA Learning English, viewed 15 April 2021, < https://learningenglish.voanews.com/a/cosmetic-surgeries-rise-in-south-korea-during-pandemic/5724258.html>.

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What is Digital Citizenship? Hashtag Publics, political engagement and activism

We often familiarise citizenship with being an individual that is associated with and participates in the social system of a nation state. As we enter the 21stcentury, a new term of citizenship has arisen that was brought upon by the development of social media platforms. More than in any time of period in history, individuals are now engaged in the political process than ever before. However, rather than being as members of formal groups, individuals are engaged in an individualised way to produce societal change (Vromen 2017, pg. 3).

Although the political process can often be perceived as the action of the voting, engagement in politics can differ. The activism of individuals to create change within their communities is well and truly rife on the African continent. For example, in an election campaign in Uganda in 2015, President Museveni promised that the government would provide girls of school age with menstrual hygiene materials if he were to be re-elected. However, the government was unable to fulfil that promise a year later stating that they did not have the available funds. Following an individual’s rant on Facebook, the Pads4Girls campaign was created to provide free sanitary towels to girls by Stella Nyanzi, an academic and research fellow at Makerere University. The campaign, operated by 40 volunteers established pads collection points and appealed to social media users throughout. By the end of the campaign, 10 million pads had been collected and reached out to more than 2000 girls (Orgeret & Selnes 2020, p. 45-47). As demonstrated, it has shown that political leadership can fulfil promises if prioritised. Furthermore, the development of social media platforms and mobile technologies has allowed for individuals to participate in producing changes in the political processes of nation state governments. Therefore, digital citizenship has a fundamental role in progression of contemporary history.

References

Selnes, F & Orgeret, K 2020, Social Media and Elections in Africa, Volume 2, 1st edn, Cham: Springer International Publishing: Imprint: Palgrave Macmillan.

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

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The Digital Community and Fandom: Reality TV Case Study

According to the Collins Dictionary (2021), reality TV is defined as a type of television programming which aims to show how ordinary people behave in everyday life, or in situations, often created by programme makers, which are intended to represent everyday life. Although the portrayal of reality TV divides debates between it being either believable or not, the triggers for discussion amongst viewers is an area of interest for studies to be conducted. This is exemplified in a study done on forum users of Big Brother and Wife Swap in the UK, which found that triggers for discussions were varied.  Their analysis found that political talk was a common ingredient amongst forum discussions, however; it was rather driven by the participant’s lifestyles and personal narratives (Graham & Hajru 2011, p. 27). These discussions align with the earlier definition of reality TV, where the creation of situations by producers provokes a reaction from the public. 

Another case study that demonstrates discussion driven by the lifestyle and narratives of participants is that of ‘90 Day Fiance’, a show that involves couples using the K-1 visa which allows foreigners to travel to the US to live with their partner. However, couples must marry before their visa expires in 90 days or they will have to return home (Discovery Communications, 2021). In Season 7, Episode 2 of the show, couples are meeting for the first time. PrimeTimer forum us ers demonstrates how the narratives of participants drive discussion particularly with the couple of Anna and Mursel. Mursel is unable to speak English and communicates via translation which left viewers dumbfounded as exemplified by forum user ‘mamadrama’, stating “Should someone sent Mursel a message? Blink twice if he thinks he's there on a bee convention. I have loved someone who spoke a different language, but we've ultimately been able to find some form of communication” (PrimeTimer 2019). Therefore, it can be observed that lifestyle and personal narratives can drive discussions within the public.

References 

Graham, T, Hajru, A 2011, “Reality TV as a trigger of everyday political talk in the net-based public sphere”, European Journal of Communication, vol. 26, no.1, pp.18-32. 

Harper Collins 2021, reality TV, Collins, viewed 24th March 2021, <https://www.collinsdictionary.com/dictionary/english/reality-tv#:~:text=Reality%20TV%20is%20a%20type%20of%20television%20which%20aims%20to,to%20be%20like%20everyday%20life.>.

 Spike 2019, S07.E02: They don’t know, Primetimer, viewed 24th March 2021, <https://forums.primetimer.com/topic/104064-s07e02-they-don%E2%80%99t-know/.>.

TLC 2021, About 90 Fiancé, Discovery Communications, viewed 24th March 2021, <https://www.tlc.com/tv-shows/90-day-fiance/about>.

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‘How does Tumblr function as a digital community?’

Tumblr is a medium that facilitates the existence of the ‘public sphere’, defined as a place where people can come together for the purpose of using reason to further knowledge and leading to political change. Tumblr as a platform is an example of a functional space of a digital community as it provides unlimited access to information, equal and protected participation with the absence of any institutional influence (Kruse 2018). This qualification is exemplified in an interview with Amanda Brennan, Head of Content Insight and Social at Tumblr, illustrating that Tumblr differs from other social media entities as it allows individuals to connect over the thing that they love the most and they do not need to who they are on the outside (McCracken 2020). This is especially evident with fandom blogs where individuals are granted the area to freely let their “fan flag and you can shout from the rooftops” for a given topic. For example, Harry Potter Quotes, a blog by the Carmen and Fiona (2021) provides an area for like-minded users to discuss and share their favourite quotes from the fictional series exemplifies this idea.

In addition to fandom blogs, Tumblr has also been a space for the feminism movement where girls such as Olive has been afforded the ability to challenge ‘rape culture’. The platform’s anonymity and increased user controls allow for them to freely discuss with others who have had likewise experience, without the personal safety repercussions that may have come with Twitter and Facebook (Keller 2019, p. 9). Therefore, it can be seen by the points that been illustrated by the studies from Brennan and Keller, Tumblr functions as a digital community as it provides similar individuals to connect and discuss on a topic. This in turn can lead to changes outside the digital realm.

  References

Carmen & Fiona 2021, Harry Potter Quotes, Tumblr, viewed 21 March 2021, <https://harrypotterhousequotes.tumblr.com/>.

 Keller, J 2019 ‘”Oh, She’s a Tumblr Feminist”: Exploring the Platform Vernacular of Girls’ Social Media Feminisms’, Social Media + Society, pp. 1-11

 Kruse, L, Norris, D & Flinchum, J 2018, ‘Social Media as a Public Sphere? Politics on Social Media’, The Sociological Quarterly, vol. 59, no.1, pp. 62-84.

 McCracken, A, Cho, A, Stein L & Hoch, I 2020, A Tumblr Book: Platform and Cultures, University of Michigan Press.