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Week 10: The unseen impact of the “Snowflake” label on youth mental health

In today’s digital age, young people, particularly university students, are often labeled as the “snowflake generation”. This term, coined to mock their perceived intolerance and over-sensitivity, has far-reaching implications that are often overlooked.

A recent study by Haslop, O’Rourke, and Southern challenges this discourse, revealing that the “snowflake” label could be diverting attention away from the real issues young people face online. The study found that online harassment is so pervasive that it is often viewed as the ‘norm’ by students, who appear willing to tolerate it rather than take actions to address it. This contradicts the claims that they are intolerant and easily offended by “snowflakes”.

The “snowflake” label, while seemingly harmless, can have a profound impact on the mental health of young people. It invalidates their experiences and feelings, making them less likely to speak out against online harassment for fear of being labeled as “over-sensitive” or “intolerant”. This can lead to feelings of isolation, anxiety, and depression.

Moreover, the label perpetuates a culture of silence and acceptance around online harassment, making it more difficult for victims to seek help. It creates an environment where young people feel they must endure harassment as a “normal” part of their online experience, further exacerbating the mental health issues they may already be facing.

The “snowflake” label also contributes to a gender-related digital divide, as the study found that respondents who identify as female and transgender are more likely to be targeted by online harassment. This can lead to increased feelings of vulnerability and fear, further impacting their mental health.

In conclusion, the “snowflake” label, while seemingly innocuous, has far-reaching implications for the mental health of young people. It is crucial that we challenge this discourse and create a safer, more inclusive online environment for all. Let’s replace the “snowflake” label with empathy, understanding, and action. Because every voice matters, and no one should have to endure harassment in silence.

References:

Haslop, C, O’Rourke, F & Southern, R 2021, ‘#NoSnowflakes: the Toleration of Harassment and an Emergent gender-related Digital divide, in a UK Student Online Culture’, Convergence: The International Journal of Research into New Media Technologies, vol. 27, no. 5, pp. 1418–1438.

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Week 9: The dynamics of indie game scenes and the art-commerce divide

In the vibrant city of Melbourne, Australia, a fascinating phenomenon is unfolding within the realm of video game development. The indie game scene, as explored in Brendan Keogh’s chapter “Melbourne Indie Game Scenes - Value Regime in Localized Game Development'', presents a microcosm of creativity, innovation, and entrepreneurial spirit.

Keogh’s research, based on over 40 interviews with Melbourne-based video game makers, reveals the existence of multiple interlocking indie video game scenes, each with its own practices, intermediaries, and values. These scenes are not monolithic; they represent a spectrum of approaches to game development, from those prioritizing sustainable companies and commercially viable products, to those whose primary income comes from other sources.

The dynamics of these scenes are influenced by a variety of factors, both local and global. Melbourne’s rich game development environment, bolstered by established skills, state funding, and cultural support, provides a fertile ground for these indie scenes to flourish. However, indie developers face numerous challenges, including the precarious nature of indie development, the constant need for innovation, and the struggle to balance creative freedom with commercial viability.

One of the most intriguing aspects of Keogh’s analysis is the exploration of the balance between art and commerce in game development. Indie developers often find themselves navigating this divide, striving to maintain their creative integrity while also ensuring their games are commercially successful. This tension creates a complex and ambivalent relationship to labor, markets, and aesthetics.

Keogh’s chapter opens up a broader discussion about what it means to be an "indie" developer. It challenges us to consider the diverse value regimes of indie-ness and the ways in which these values are negotiated within and across different scenes. As we continue to explore the world of indie game development, it’s crucial to recognize and appreciate the complexity, diversity, and dynamism of these scenes.

In conclusion, the indie game scenes in Melbourne offer a fascinating case study of the interplay between creativity, commerce, and locality in game development. They remind us that game development is not just about creating products, but also about building communities, fostering creativity, and navigating the ever-evolving landscape of the video game industry.

References:

Keogh, B 2020, ‘The Melbourne Indie Game Scenes’, Routledge eBooks, Informa, pp. 209–222.

Week, MIG 2020, ‘Melbourne International Games Week’, gamesweek.melbourne, viewed 27 March 2024, <https://gamesweek.melbourne/>.

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Week 8: AR filters, self-presentation and authenticity?

In the age of digital media, the use of Augmented Reality (AR) filters has become a common practice for enhancing self-presentation. However, the question arises: How can we navigate the use of AR filters to enhance our self-presentation while also maintaining authenticity?

Jessica Barker’s study, "Making-up on mobile: The pretty filters and ugly implications of Snapchat", explores the connection between face filters, cosmetics, and feminine beauty ideals in a celebrity-led, self-image-saturated culture. Barker traces users’ dismay at how Snapchat, originally praised as a space for authentic, unfiltered self-presentation, became a force for aggressively perpetuating fashionable but exclusionary beauty ideals.

AR filters offer an incredible opportunity for driving authentic engagement and awareness for your brand. They facilitate organic community growth through interactive experiences. However, new research suggests that AR apps designed to let customers virtually try on makeup or other products can have a significant, negative impact on psychological well being.

While people with lower baseline levels of self-esteem may feel better about themselves after using an AR filter, those with higher pre-existing self-esteem are more likely to feel worse about themselves after using AR. This dichotomy presents a challenge for users seeking to balance self-enhancement with authenticity.

So, should we just focus on one thing? The answer is not straightforward. The use of AR filters for self-presentation is a complex issue that intertwines with individual self-esteem, societal beauty standards, and the desire for authenticity. It’s not about choosing between self-enhancement and authenticity, but rather understanding how to use these tools in a way that aligns with our individual values and sense of self.

In conclusion, navigating the use of AR filters for self-presentation requires a nuanced understanding of the implications of these tools. By being mindful of their potential impacts, users can make informed decisions about how to use AR filters in a way that enhances their self-presentation while also maintaining their authenticity. As we continue to explore and understand the digital landscape, it’s crucial to foster conversations about these topics to ensure a healthy and inclusive digital culture.

References:

Barker, J 2020, ‘Making-up on mobile: the Pretty Filters and Ugly Implications of Snapchat’, Fashion, Style & Popular Culture, vol. 7, no. 2, pp. 207–221.

Javornik, A, Marder, B, Pizzetti, M & Warlop, L 2021, ‘Research: How AR Filters Impact People’s Self-Image’, Harvard Business Review, 22 December, viewed https://hbr.org/2021/12/research-how-ar-filters-impact-peoples-self-image.

Javornik, A, Marder, B, Barhorst, JB, McLean, G, Rogers, Y, Marshall, P & Warlop, L 2022, ‘“What Lies behind the filter?” Uncovering the Motivations for Using Augmented Reality (AR) Face Filters on Social Media and Their Effect on well-being’, Computers in Human Behavior, vol. 128, no. 107126, p. 107126, viewed <https://reader.elsevier.com/reader/sd/pii/S0747563221004490?token=C2FCB5A5DF589848E787953D5759B7990EBCED72E6360E2BDA180ED67E63FA10D50C03C6E45357DEA822281F2161C099&originRegion=eu-west-1&originCreation=20220107091932>.

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Week 7: The role of platform governance in shaping the creative economy and its implications for creators from marginalized communities

In the rapidly evolving digital landscape, the role of platform governance in shaping the creative economy has become a topic of critical importance. The article “Platform governance at the margins: Social media creators’ experiences with algorithmic (in)visibility” by Brooke Erin Duffy and Colten Meisner provides an insightful examination of this issue, particularly its implications for creators from marginalized communities.

The authors highlight how the inscrutable socio-technical systems of platforms like YouTube, Instagram, and TikTok can create challenges for social media creators. These platforms enact governance unevenly through formal or informal means, influencing creators’ practices and leading to self-censorship and efforts to circumvent algorithmic intervention. This is particularly impactful for creators from marginalized communities, who are systematically disadvantaged by these regimes of discipline and punishment.

This issue is further complicated by the lack of transparency in algorithmic decision-making. As the World Economic Forum’s report on Agile Governance for Creative Economy 4.0 points out, the creative economy is being transformed by the Fourth Industrial Revolution. However, the lack of agile governance - a more adaptive, human-centered, and sustainable policy approach - can hinder the growth of creative economies.

Moreover, the experiences of marginalized creators on platforms like TikTok reveal the stark reality of these challenges. These creators often face discrimination, suppression of content, and capped views, all under the guise of anti-bullying measures. This not only stifles their creativity but also limits their opportunities for economic development.

In conclusion, the role of platform governance in shaping the creative economy has profound implications for creators from marginalized communities. It is crucial for us to advocate for more transparency, fairness, and inclusivity in platform governance. This will not only foster a more diverse and vibrant creative economy but also ensure that all creators, regardless of their background, have equal opportunities to thrive.

References:

Duffy, BE, Poell, T & Nieborg, DB 2019, ‘Platform Practices in the Cultural Industries: Creativity, Labor, and Citizenship’, Social Media + Society, vol. 5, no. 4, p. 205630511987967.

Potrel, V 2021, ‘Council Post: How Can You Make the Creative Platform Economy Work for You?’, Forbes, viewed 1 April 2024, <https://www.forbes.com/sites/forbescommunicationscouncil/2021/07/09/how-can-you-make-the-creative-platform-economy-work-for-you/?sh=1e6801861979>.

Pearce, KE, Gonzales, A & Foucault Welles, B 2020, ‘Introduction: Marginality and Social Media’, Social Media + Society, vol. 6, no. 3, p. 205630512093041.

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Week 6: Slow fashion culture

In the realm of fashion, the concept of “Slow fashion” has been gaining traction, with a focus on ethical values, sustainable consumption, consumer motivations, attitudes, and sustainability awareness. These dimensions are not isolated but interact in complex ways to shape consumer behavior.

Cultural and economic contexts play a significant role in this interaction. For instance, culture significantly influences buying behavior of clothes, and it has been found that socio-cultural and personality-related factors induce purchase intentions among consumers. Economic context, on the other hand, can affect the affordability and perceived value of slow fashion items, thereby influencing consumer motivations and attitudes.

Sustainability in the fashion industry is no longer a choice but a necessity. The industry is known for its ability to implement trends that shape society and affect the buying habits of consumers at large5. Sustainable fashion promotes environmentally friendly and socially responsible practices. It involves using natural and organic materials, reducing waste, and supporting fair trade and ethical production methods. By analyzing and adjusting consumption patterns, sustainable fashion focuses on reducing waste and promoting responsible use, encouraging consumers to choose quality over quantity.

However, promoting sustainable practices among consumers and within the industry is not a straightforward task. It requires a multi-faceted approach that includes education, communication, and policy interventions. A study found that eco-labelling and educational policies have particularly high levels of consumer support. Eco-labelling is considered a critical educational and awareness-raising tool for supporting sustainable fashion consumption; however, the existing labeling approach is inadequate due to the complexity of current terminology, lack of eco-literacy, and consumers’ distrust of industry claims about eco-products.

Lastly, the role of policy and regulation in shaping consumer behavior towards slow fashion cannot be underestimated. Government interventions in the fashion industry are intensifying, and young people are increasingly taking the lead in political campaigns and initiatives centered on environmental and social issues. Policies can help bridge the gap between consumer attitudes and behavior, making it easier for consumers to make sustainable choices.

In conclusion, understanding the interplay of various dimensions of slow fashion and their influence on consumer behavior in different cultural and economic contexts is crucial. Leveraging these dimensions to promote sustainable practices and examining the role of policy and regulation can pave the way for a more sustainable fashion industry. Future research in this area is not only necessary but also inevitable as we strive for a more sustainable future.

References:

Domingos, M, Vale, VT & Faria, S 2022, ‘Slow Fashion Consumer Behavior: a Literature Review’, Sustainability, vol. 14, no. 5, p. 2860.

Lusty, N 2021, ‘Fashion Futures and Critical Fashion Studies’, Continuum, vol. 35, no. 6, pp. 1–11, viewed 4 March 2024, <https://www.tandfonline.com/doi/full/10.1080/10304312.2021.1993568>.

Rajagopal 2011, ‘Consumer Culture and Purchase Intentions toward Fashion Apparel in Mexico’, Journal of Database Marketing & Customer Strategy Management, vol. 18, no. 4, pp. 286–307, viewed <https://link.springer.com/article/10.1057/dbm.2011.33>.

Hur, E & Faragher- Siddall, E 2022, ‘Young Consumer Perspectives on Government Policy Interventions for Sustainable Fashion Consumption in the UK’, Fashion Practice, vol. 14, no. 3, pp. 405–427, viewed 1 April 2024, <https://www.tandfonline.com/doi/full/10.1080/17569370.2022.2125149>.

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Week 5: Digital citizenship and political engagement

In the digital age, the concept of citizenship has evolved beyond geographical boundaries to encompass online spaces. This shift has given rise to the term “digital citizenship,” which refers to the responsible and ethical use of technology. Digital citizenship is not just about technical skills but also about understanding the social, cultural, and political aspects of the digital world.

In their seminal work, Moonsun Choi & Dean Cristol (2021) explore digital citizenship through an intersectionality lens. They argue that the ultimate goal of digital citizenship education is participatory democracy. This perspective is crucial in our increasingly interconnected world, where online platforms play a significant role in political engagement and social change.

Choi & Cristol’s work aligns with Ariadne Vromen’s research on digital citizenship and political engagement. Vromen outlines how individuals, political organizations, and the state are "recognising the mainstreaming of many of these actions into new forms of political participation in the digital context" (Vromen 2016, pp. 4–49). She provides new perspectives on collective action and how citizens are mobilized.

Digital citizenship is not just about access to technology but also about using that access to engage in political and civic activities. As Vromen points out, the emergence of social media and digital politics have opened new avenues for citizen engagement, from sending emails to MPs to using the internet to initiate social movements, citizens are using these political opportunities (Wiersma 2015).

However, the digital divide remains a significant challenge. Not everyone has equal access to digital resources, which can limit their ability to participate in digital citizenship. Therefore, it is crucial to address these disparities to ensure that everyone can participate in the digital world.

To sum up, digital citizenship and political engagement are intertwined. As digital citizens, we have the power to influence political processes and contribute to social change. However, it is essential to remember that with this power comes responsibility. We must use our digital tools ethically and responsibly, respecting the rights and privacy of others.

As we continue to navigate the digital landscape, let’s strive to be responsible digital citizens, using our online presence to foster positive change and promote participatory democracy. Let’s remember that our online actions can have real-world impacts. So, let’s use our digital tools not just to engage but to make a difference.

References:

Choi, M & Cristol, D 2021, ‘Digital Citizenship with Intersectionality Lens: Towards Participatory Democracy Driven Digital Citizenship Education’, Theory Into Practice, vol. 60, no. 4, viewed 4 February 2024, <https://www.tandfonline.com/doi/full/10.1080/00405841.2021.1987094>.

Vromen, A 2016, Digital Citizenship and Political Engagement, 1st edn, Palgrave Macmillan UK, London, pp. 4–49, viewed 4 February 2024, <https://link.springer.com/book/10.1057/978-1-137-48865-7>.

Wiersma, W 2015, ‘Digital Democracy: Political Participation and Citizen Engagement through the Internet’, House of Lords Library, UK Parliament, p. 8, viewed 4 February 2024, <https://lordslibrary.parliament.uk/research-briefings/lln-2015-0035/>.

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Week 4: The impact of reality television on audience engagement

Reality television, a genre that has become a global phenomenon, has significantly transformed audience engagement and narratives, particularly through the lens of social media platforms. This transformation is a topic of interest in Ruth A. Deller’s work, “Reality Television in an Age of Social Media”, part of the book “Reality Television: The Television Phenomenon That Changed the World” published by Emerald Publishing.

Reality TV shows have leveraged the surge of social media to hype their content, engaging viewers in a journey that transcends the boundaries of the television screen. This active participation of audiences, as Deller (2019) suggests, has led to the transformation of viewers from passive consumers to active participants in an ever-expanding interactive economy.

A study on the reality TV show “Love Island” reveals how the show exploited new forms of digital media to encourage multi-platform consumption of content. This strategy not only monetized viewer engagement but also "has simultaneously created opportunities for the show’s audience to group together online and form communities of resistance which have placed themselves in opposition to the show’s producers" (L’Hoiry 2019). These communities utilized social media to pool their resources and knowledge, exercising modes of sousveillance to hold powerful actors accountable for perceived wrongdoing.

Moreover, social media has become essential to the success of television as a whole. The sharing of memes, gifs, stickers, and sponsored emojis are now significant metrics of engagement. This shift in audience engagement and participation hints at a paradigm shift in the relationship between television producers and audiences.

All in all, the advent of social media has significantly impacted the way audiences engage with reality television. It has transformed passive viewers into active participants, creating a dynamic and interactive narrative that extends beyond the television screen. As reality television continues to evolve in the age of social media, it will be fascinating to see how this relationship between producers, audiences, and social media platforms continues to unfold.

References:

Das, S, Sarkar, P & Houssain, A 2021, ‘Perception Analysis of TV Reality Shows: Perspective of Viewers’ and Entertainment Industry Professionals’, International Journal of Media, Journalism and Mass Communications, vol. 7, no. 2, pp. 22–31, viewed 4 February 2024, <https://arcjournals.org/pdfs/ijmjmc/v7-i2/3.pdf>.

Deller, RA 2019, Reality television : the television phenomenon that changed the world, Emerald Publishing, Bingley, Uk, pp. 153–175, viewed 4 February 2024, <https://www.emerald.com/insight/publication/doi/10.1108/9781839090219>.

L’Hoiry, X 2019, ‘Love Island, Social Media, and Sousveillance: New Pathways of Challenging Realism in Reality TV’, Frontiers in Sociology, vol. 4, no. 59, pp. 1–13, viewed 4 February 2024, <https://www.frontiersin.org/articles/10.3389/fsoc.2019.00059/full>.

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Week 3: How does Tumblr function as a digital community?

Tumblr is a microblogging and social networking platform that has gained significant popularity. It is reported to have had 166.4 million users and 73.4 billion posts by January 201412. Tumblr is known for its rich content and hybrid characteristics of social networking, traditional blogosphere, and social media (Chang et al. 2014). This platform has evolved into a space that fosters diversity and authenticity, challenging the established ideals of beauty and femininity.

A study titled "Love the Skin You‘re In”: An Analysis of Women’s Self-Presentation and User Reactions to Selfies Using the Tumblr Hashtag #bodypositive by Anne Reif, Insa Miller & Monika Taddicken provides insights into the diversity of self-presentation and user reactions within the #bodypositive community on Tumblr, shedding light on the complexities of online feminist spaces and the use of social media for body positivity.

The #bodypositive movement on Tumblr is a testament to the platform's function as a digital community. It encourages users to embrace their bodies, regardless of societal standards of beauty, and promotes self-love and acceptance. This movement is not just about posting selfies; it's about challenging societal norms, sparking conversations, and fostering a supportive community.

The use of hashtags like #bodypositive on Tumblr allows for the creation of sub-communities within the larger digital community. These sub-communities provide a space for individuals to share their experiences, engage in discussions, and support each other. They serve as a safe haven for individuals who may feel marginalized or misunderstood in other social spaces.

In conclusion, Tumblr functions as a digital community by providing a platform for individuals to express themselves freely, challenge societal norms, and find support among like-minded individuals. The #bodypositive movement on Tumblr is a prime example of how digital communities can foster diversity, authenticity, and positive change.

References:

Chang, Y, Tang, L, Inagaki, Y & Liu, Y 2014, ‘What Is Tumblr’, ACM SIGKDD Explorations Newsletter, vol. 16, no. 1, pp. 21–29, viewed 31 January 2024, <https://arxiv.org/abs/1403.5206>.

Reif, A, Miller, I & Taddicken, M 2022, ‘“Love the Skin You‘re In”: An Analysis of Women’s Self-Presentation and User Reactions to Selfies Using the Tumblr Hashtag #bodypositive’, Mass Communication and Society, pp. 1038–1061, viewed 31 January 2024, <https://www.tandfonline.com/doi/full/10.1080/15205436.2022.2138442>.