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Defining self-tracking as an aesthetic audio-visual genre" /> <meta name="twitter:description" content="This article analyses videos of men talking about and documenting their lack and growth of hair via Finasteride and Minoxidil. We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera" /> <meta name="twitter:image" content="https://0.academia-photos.com/1930511/651339/82477848/s200_tobias.raun.jpg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="article" /> <meta property="og:url" content="https://www.academia.edu/84408570/Showing_progress_Defining_self_tracking_as_an_aesthetic_audio_visual_genre" /> <meta property="og:title" content="Showing progress. Defining self-tracking as an aesthetic audio-visual genre" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif" /> <meta property="og:description" content="This article analyses videos of men talking about and documenting their lack and growth of hair via Finasteride and Minoxidil. We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera" /> <meta property="article:author" content="https://ruc-dk.academia.edu/TobiasRaun" /> <meta name="description" content="This article analyses videos of men talking about and documenting their lack and growth of hair via Finasteride and Minoxidil. We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera" /> <title>(PDF) Defining Male Self-Tracking as an Aesthetic Genre</title> <link rel="canonical" href="https://www.academia.edu/84408570/Showing_progress_Defining_self_tracking_as_an_aesthetic_audio_visual_genre" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '08c611e06efd956c8cb6c100cf9e757ee1b93f16'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1733196659000); window.Aedu.timeDifference = new Date().getTime() - 1733196659000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"This article analyses videos of men talking about and documenting their lack and growth of hair via Finasteride and Minoxidil. We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera within a specific platformed environment. We argue that the camera is not solely a tool, but rather an aesthetic practice with performative effects. In other words, self-tracking must be understood as always already entangled in and inseparable from mediating and aesthetic processes. The article then outlines the main characteristics of self-tracking videos as a self-representational audio-visual genre, defining them as momental videos and longitudinal videos. It is our claim that these defining characteristics constitute the central aesthetic principles of Finasteride and Minoxidil self-tracking videos, but that they are also applicable to other forms of videos preoccupied with representing and tracking transformation.","author":[{"@context":"https://schema.org","@type":"Person","name":"Tobias Raun"}],"contributor":[],"dateCreated":"2022-08-09","dateModified":"2024-11-30","headline":"Showing progress. Defining self-tracking as an aesthetic audio-visual genre","image":"https://attachments.academia-assets.com/89443699/thumbnails/1.jpg","inLanguage":"en","keywords":["Computer Science","Eye tracking","Conjunctions"],"publication":"Conjunctions","publisher":{"@context":"https://schema.org","@type":"Organization","name":"Walter de Gruyter GmbH"},"sourceOrganization":[{"@context":"https://schema.org","@type":"EducationalOrganization","name":"ruc-dk"}],"thumbnailUrl":"https://attachments.academia-assets.com/89443699/thumbnails/1.jpg","url":"https://www.academia.edu/84408570/Showing_progress_Defining_self_tracking_as_an_aesthetic_audio_visual_genre"}</script><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/single_work_page/loswp-102fa537001ba4d8dcd921ad9bd56c474abc201906ea4843e7e7efe9dfbf561d.css" /><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/design_system/body-8d679e925718b5e8e4b18e9a4fab37f7eaa99e43386459376559080ac8f2856a.css" /><link 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We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera within a specific platformed environment. We argue that the camera is not solely a tool, but rather an aesthetic practice with performative effects. In other words, self-tracking must be understood as always already entangled in and inseparable from mediating and aesthetic processes. The article then outlines the main characteristics of self-tracking videos as a self-representational audio-visual genre, defining them as momental videos and longitudinal videos. It is our claim that these defining characteristics constitute the central aesthetic principles of Finasteride and Minoxidil self-tracking videos, but that they are also applicable to other forms of videos preoccupied with representing and tracking transformation.","publisher":"Walter de Gruyter GmbH","ai_title_tag":"Defining Male Self-Tracking as an Aesthetic Genre","publication_name":"Conjunctions"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Showing progress. 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Defining self-tracking as an aesthetic audio-visual genre</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="1930511" href="https://ruc-dk.academia.edu/TobiasRaun"><img alt="Profile image of Tobias Raun" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/1930511/651339/82477848/s65_tobias.raun.jpg" />Tobias Raun</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">Conjunctions</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">16 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 84408570; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=84408570"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { const viewCountNumber = Number(viewCount); if (!viewCountNumber) { throw new Error('Failed to parse view count'); } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (viewCountBody) { viewCountBody.textContent = `${commaizedViewCount} views`; } else { throw new Error('Failed to find work views element'); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">This article analyses videos of men talking about and documenting their lack and growth of hair via Finasteride and Minoxidil. We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera within a specific platformed environment. We argue that the camera is not solely a tool, but rather an aesthetic practice with performative effects. In other words, self-tracking must be understood as always already entangled in and inseparable from mediating and aesthetic processes. The article then outlines the main characteristics of self-tracking videos as a self-representational audio-visual genre, defining them as momental videos and longitudinal videos. It is our claim that these defining characteristics constitute the central aesthetic principles of Finasteride and Minoxidil self-tracking videos, but that they are also applicable to other forms of videos preoccupied with representing and tracking transformation.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":89443699,"attachmentType":"pdf","workUrl":"https://www.academia.edu/84408570/Showing_progress_Defining_self_tracking_as_an_aesthetic_audio_visual_genre"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":89443699,"attachmentType":"pdf","workUrl":"https://www.academia.edu/84408570/Showing_progress_Defining_self_tracking_as_an_aesthetic_audio_visual_genre"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="89443699" data-landing_url="https://www.academia.edu/84408570/Showing_progress_Defining_self_tracking_as_an_aesthetic_audio_visual_genre" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="12965589" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/12965589/Home_Dance_Aesthetics_of_the_Self_on_YouTube">Home Dance: Aesthetics of the Self on YouTube</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="17405209" href="https://univie.academia.edu/AndreaSeier">Andrea Seier</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Home Dance: Aesthetics of the Self on YouTube","attachmentId":37900199,"attachmentType":"pdf","work_url":"https://www.academia.edu/12965589/Home_Dance_Aesthetics_of_the_Self_on_YouTube","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/12965589/Home_Dance_Aesthetics_of_the_Self_on_YouTube"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="35264099" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35264099/More_than_meets_the_eye_videography_and_production_of_desire_in_semiocapitalism">More than meets the eye: videography and production of desire in semiocapitalism</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="181829" href="https://royalholloway.academia.edu/MikaelAnd%C3%A9hn">Mikael Andéhn</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Marketing Management</p><p class="ds-related-work--abstract ds2-5-body-sm">In the light of the recent proliferation of interest in videographic methods in marketing and consumer research, we wish to make a call for thinking critically about the medium. 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Haeckel</a></div><p class="ds-related-work--abstract ds2-5-body-sm">In a present characterized by smartphone, drone and satellite photography, the image of the human demands absolute transparency and has become part of a new sharing and surveillance culture. The "facial society" (Thomas Macho) produces faces that are like masks, over-individual and thus easily controlled. The face becomes a mere surface without an authenitic core or any depth-psychological significance which can be decoded. Contemporary video artists confront the loss of autonomy with different visual strategies. In einer von Smartphone-, Drohnen-und Satellitenfotografie geprägten Gegenwart unterliegt das Bild des Menschen der Forderung nach absoluter Transparenz und ist Teil einer neuen Sharing-und Überwachungskultur geworden. Die " faciale Gesellschat " (Thomas Macho) produziert Gesichter, die maskenhat, überindividuell und somit leicht kontrollierbar sind. Das Gesicht wird zur reinen Oberläche, ohne authentischen Kern oder tiefenpsychologische Bedeutung, die es zu entschlüsseln gilt. Zeitgenössische VideokünstlerInnen begegnen der verlorenen Autonomie mit ganz unter-schiedlichen visuellen Strategien.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Identity and Control in contemporary video art // Identität und Kontrolle in der zeitgenössischen Videokunst","attachmentId":46099717,"attachmentType":"pdf","work_url":"https://www.academia.edu/25743859/Identity_and_Control_in_contemporary_video_art_Identit%C3%A4t_und_Kontrolle_in_der_zeitgen%C3%B6ssischen_Videokunst","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/25743859/Identity_and_Control_in_contemporary_video_art_Identit%C3%A4t_und_Kontrolle_in_der_zeitgen%C3%B6ssischen_Videokunst"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="81873970" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/81873970/Do_you_want_to_film_yourself_Narrating_the_personal_and_rewriting_reality_in_Agostino_Ferrentes_Selfie_2019_Studies_in_Documentary_Film_2022">'Do you want to film yourself?' Narrating the personal and rewriting reality in Agostino Ferrente's Selfie (2019), "Studies in Documentary Film", 2022</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1345255" href="https://unime.academia.edu/LauraBusetta">Laura Busetta</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Studies in Documentary Film, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">Focusing on two teenagers grappling with the difficult reality of Naples, Agostino Ferrente’s "Selfie" (2019) is a powerful depiction of an entire community at a significant time, when limited perspectives and the pervasive presence of organized crime – with a value system that is intrinsic to the Camorra – deeply influence the present and the future of a generation. Shot by two 16-year-old boys from the Traiano district (Naples), the film is a powerful example of how self-representation can be a strategic and political tool to immerse in a life and its context. Within the framework of studies on first-person filmmaking and self- representation, and mobilizing concepts from the theory of mobile films, this article argues that, through the filming carried out by the two teenagers, Selfie is able to offer us a wider glimpse of a generation, of its everyday life and imagination, and of its perception of the contemporary media imaginary. I argue that, by employing a reflexive mode of documentary and the linguistic forms of the photographic selfie, the film engages the spectator in an intimate flow of images, questioning authorial instances, the relationship of the iGeneration with filming devices, and the different approaches and aesthetic choices that form the basis of every representation of reality. https://www.tandfonline.com/eprint/AEW8QQYIWUX8XUEISRWA/full?target=10.1080/17503280.2022.2078062</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"'Do you want to film yourself?' Narrating the personal and rewriting reality in Agostino Ferrente's Selfie (2019), \"Studies in Documentary Film\", 2022","attachmentId":87953332,"attachmentType":"pdf","work_url":"https://www.academia.edu/81873970/Do_you_want_to_film_yourself_Narrating_the_personal_and_rewriting_reality_in_Agostino_Ferrentes_Selfie_2019_Studies_in_Documentary_Film_2022","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/81873970/Do_you_want_to_film_yourself_Narrating_the_personal_and_rewriting_reality_in_Agostino_Ferrentes_Selfie_2019_Studies_in_Documentary_Film_2022"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="7401470" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/7401470/Relational_Manoeuvres_in_Autobiographical_Video_Art">Relational Manoeuvres in Autobiographical Video Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4175842" href="https://independent.academia.edu/MatthewRyanSmith">Matthew Ryan Smith</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Biography: An Interdisciplinary Quarterly, 2015</p><p class="ds-related-work--abstract ds2-5-body-sm">This paper argues that autobiographical video art radically transforms intersubjective relationships with viewers, and in doing so deconstructs critical spectatorship by positioning the viewer as an interlocutor. Here I draw attention to the work of visual artists Lisa Steele, Colin Campbell, Peter Kingstone, and Irene Loughlin who help to reconceptualize the interlocutor subject position by using unorthodox transmedial aesthetic strategies.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Relational Manoeuvres in Autobiographical Video Art","attachmentId":37818026,"attachmentType":"pdf","work_url":"https://www.academia.edu/7401470/Relational_Manoeuvres_in_Autobiographical_Video_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/7401470/Relational_Manoeuvres_in_Autobiographical_Video_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="111430666" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality">When Face Becomes Interface: Music Video and the Portrait of Mediality</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="858349" href="https://upol.academia.edu/TomasJirsa">Tomáš Jirsa</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Reconfiguring the Portrait. Ed. Abraham Geil and Tomáš Jirsa. Edinburgh: Edinburgh University Press, 2023, 83-104.</p><p class="ds-related-work--abstract ds2-5-body-sm">In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify the affective work of audiovisual forms and their performative mechanisms. Putting two videos from the current hip-hop and trip-hop scene, Earl Sweatshirt’s Chum (2012) directed by Hiro Murai, and Massive Attack’s The Spoils (2016) directed by John Hillcoat, into dialogue with Jean-Luc Nancy’s concept of the non-representational portrait (2018) read through the lens of media philosophy, this chapter argues for the displacement of the human facial image from its traditional function of expressing interiority to a thematization of form and technicity in a contemporary audiovisual medium.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"When Face Becomes Interface: Music Video and the Portrait of Mediality","attachmentId":108973682,"attachmentType":"pdf","work_url":"https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="38210500" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/38210500/Call_for_papers_La_Valle_dellEden_n_35_June_December_2019_Monographic_issue_Self_Media_Studies_ed_by_Federica_Villa_">Call for papers - La Valle dell'Eden, n. 35 (June–December 2019) - Monographic issue: Self Media Studies (ed. by Federica Villa)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5249910" href="https://unige-it.academia.edu/LucaMalavasi">Luca Malavasi</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Call for papers - La Valle dell'Eden, n. 35 (June–December 2019) - Monographic issue: Self Media Studies (ed. by Federica Villa)","attachmentId":58249361,"attachmentType":"pdf","work_url":"https://www.academia.edu/38210500/Call_for_papers_La_Valle_dellEden_n_35_June_December_2019_Monographic_issue_Self_Media_Studies_ed_by_Federica_Villa_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/38210500/Call_for_papers_La_Valle_dellEden_n_35_June_December_2019_Monographic_issue_Self_Media_Studies_ed_by_Federica_Villa_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="2720713" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2720713/YouTube_and_You_experiences_of_self_awareness_in_the_context_collapse_of_the_recording_webcam">YouTube and You: experiences of self-awareness in the context collapse of the recording webcam</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="29964" href="https://ksu.academia.edu/MichaelWesch">Michael Wesch</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2009</p><p class="ds-related-work--abstract ds2-5-body-sm">Abstract: New media not only introduce new ways for us to express ourselves, but also new forms of self-awareness—new ways to reflect on who we are and how we relate to others. This article analyzes the experiences of self-awareness generated by creating, viewing, and responding to deeply personal, unaddressed vlogs on YouTube.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"YouTube and You: experiences of self-awareness in the context collapse of the recording webcam","attachmentId":30699735,"attachmentType":"pdf","work_url":"https://www.academia.edu/2720713/YouTube_and_You_experiences_of_self_awareness_in_the_context_collapse_of_the_recording_webcam","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2720713/YouTube_and_You_experiences_of_self_awareness_in_the_context_collapse_of_the_recording_webcam"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":89443699,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":89443699,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_89443699" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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