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4 Citations 30 References
nline Persona
Ad
on
Kim J Barbour
her Moore
6.68 · University of Adelaide
Twitter, and most of the digital media platforms that now form routine parts of our
Bolter (2000) anticipated that online activities would reshape how we understand
tity: a ‘networked self’, he noted, ‘is displacing Cartesian printed self as a cultural
p. 26). The twenty-first century has not only produced a proliferation and mass
platforms for the production of public digital identities, but also an explosion of
tigating the relationship between such identities and technology. These approaches
ssed on the relations between humans and their networks of other human
n neglecting the broader implications of what personas are and might be, and
of the non-human as part of social networks. In this introductory essay, we seek to
rk done so far to explore subjectivity and the public presentation of the self via
ologies, and contribute to these expanding accounts by providing a brief overview of
r to be five important dimensions of an online persona. In the following, we identify
five dimensions of persona as public, mediatised, performative, collective and
l value and, while we acknowledge that these dimensions are not exhaustive or
e certainly primary.
ld's research
embers
publications
ch projects
Moore, Ba
This approach advocates for taking into consideration all the tech
’s and the physical as well as digital infrastructure that encapsula
worked identity
worked identity.
This first dimension of an online persona is comprised of a par
ctrum of ‘publicness’ and at each point along its traversal exists th
m a small public of close and intimate friends to a massive and glo
abled by the act of sharing. This potentiality parallels the historica
he public self such as when celebrities and stars start out perform
dience, but later attain a larger audience as they become more pop
ectory gives us insights into the dynamics of online persona creat
icipates this shift from small to larger scale publics.
In this industrial model of the individual, the public self is the ‘
ebrity offers up to the world, a highly polished, scheduled and con
duced and performed for launches, premieres, speaking engagem
diated promotions, appearances, and events. High-profile celebrit
ms of publicity assistants and staff that work to maintain consiste
ause, as Turner, Bonner, and Marshall (2000) note, the celebrities
uld add) are “commodities, produced to be marketed in their own
rket other commodities. The celebrity’s ultimate power is to sell th
mselves” (2000, p. 12). Organisations, brands, institutions and com
ve this public-facing dimension of their online persona with teams
eratives conducting licensed online persona management, and a ra
asi-official public selves connected to these identities. Celebrities, b
all especially important public figures because of their pedagogic
dentify new aspects of agency and risk. In the past, the media gate
ve relegated figures like Kim Kardashian to tabloid notoriety, but t
vided by control over the public presentation of the self online ha
lt on careful management from her initial public notice (through t
o a fashion, music, marketing, and promotional career. As Marshal
ebrities act as pedagogical markers providing replicable framewor
blic presentation of the self. This mediatised identity is organised t
mmercial applications, networks and platforms, which is not only s
the individual, but becomes a source for information harvesting, a
mmercial sharing (Marshall 2015).
ediatised Dimension of Persona
The mediatised dimension of persona follows on from the first
an expression of the self. This is not a new phenomenon: individua
mselves via communication technologies in perpetuity from rock
d letters, to ham radio call signs, autobiographies, and social media
ntemporary assemblage of persona now combines multiple media
fie requires mobile screens, cameras, digital image compression al
mmunication across wireless or telecommunication carrier signals
ions of daily social media users, across Facebook, WeChat, Twitter
monstrate an unparalleled scope of skills and degree of comfortab
diatisation and express unprecedented levels of actual and potent
rshall 2015; 2016; 2017). Mediated persona operates under the m
erest and corporately governed structures that individuals have b
ny in the hope of sharing in the benefits of a widely proliferating s
y the province of individuals in film, television, print, and radio. Th
ctices of the mediated public often conflict, but they also mirror th
3
Moore, Ba
Moore, Ba
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THIS ISSUE
Moore, Ba
10
References (30)
ct
e know, is not in this sense particular: such movement into and through online
on d' être of social media platforms and Instagram's particular contribution is
le of visual media in that project. Like other platforms, Instagram also has a
anging spectrum of publicness" ( Moore et al 2017 ) wherein users might operate
nd regulated publics but have opportunities to broaden that scope and enter (and
public audience. The role and function of the hashtag has been much discussed in
m et al. 2017;Leaver 2015, 2016; Leaver and Highfield 2018) yet of particular interest
a work that is done when hashtags move Instagram users beyond their micro-publics
o broader publics, and signal a desire to not only contribute to and participate in
ations, but mark and legitimise specific archives and taxonomies. ...
ct
e them? Meat consumers’ reactions to online farm animal welfare activism in Australia
ct
ct
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