Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  INSTAGRAM
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

ESTETIKA FOTOGRAFIE V ÉRE INSTAGRAMIZMU

100%
Pašteková M.
ESPES
|
2018
|
vol. 7
|
issue 1
38 – 46
EN
The starting point for the topic of this paper was finding out that for today’s students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. In the introductory part of our paper, we analyse three types of the most common aesthetics of Instagram, as described by Lev Manovich in his book Instagram and Contemporary Image - causal photos, professional photos and designed photos. Subsequently, we study the so-called phenomenon Instagramism, whose representatives are a young digital class, actively using social platforms and communicating in particular visually. They work with photography in more conceptual way and their Instagram profile must have greater aesthetic consistency. The neologism “Instagram” suggests speed, quick decision, and fast action. If this was the platform’s original intension, then the visually sophisticated global youth and members of Instagramism use it today in a completely opposite way. Instagramism needs slowness, craftsmanship, and attention to tiniest details. Than we discussed how Instgram was used by established artists as Cindy Sherman, Richard Prince and Czech photographer Libuse Jarcovjakova. Sherman surprised the art world with a selfie-filled Instagram account, Prince gained attention with his series New Portraits and Jarcovjáková uses Instagram as a visual diary. By shifting to new medium, they continue in their previous work; new technologies are used here to raise questions about our relationship with internet and social platforms. On the other hand, for Instagrammers and thus also for the current students of photography, Instagram is a way of lifestyle and space for self-presentation. It is a new gallery space for them.
2

SOCIAL NETWORKING AND THE EXPERIENCE OF LONELINESS

80%
Baumgartner F., Műllerová K.
Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied
|
2023
|
vol. 26
|
issue 1
-
EN
This paper addresses the issue of social networks and loneliness in young adulthood. The aim of the paper is to analyse the possible association between feelings of loneliness and the use of social networks. A total of 206 people (162 women and 44 men) participated in the research with an average age of 22.6 years. There were three data collection instruments used in the study. The first was the Social Networking and Instagram Activity scale designed to measure social networking behaviours and Instagram in particular. The results show that there is an association between loneliness and social networking in young adulthood. The topic requires a more thorough exploration in future research.
3

“WE ARE IN CONTROL”: INSTAGRAM INFLUENCERS AND THE PROLIFERATION OF CONSPIRACY NARRATIVES IN DIGITAL SPACES

70%
Heřmanová M.
Slovenský národopis (Slovak Ethnology)
|
2022
|
vol. 70
|
issue 3
349 – 368
EN
Female spiritual influencers on Instagram engage with conspiracy content and appeal to the issue of control over female bodies to bridge the gap between mainstream and fringe online spaces. I use the concept of “third space” to analyse the dynamics of Instagram communities around spiritual influencers and highlight how these communities operate as spaces for political discussion while simultaneously appearing apolitical from the outside. Analysing data from participant observation and interviews with six female Czech spiritual influencers, I place their online communication and presentation within the context of the conspirituality movement (Ward, Voas, 2011). Furthermore, I present ethnographic evidence on how the influencers moved from spiritual to conspiritual content within their everyday online performances.
4

„CORONACOASTER“: LOCAL REFLECTIONS ON DIGITAL SOCIAL NETWORKS

61%
Zavratnik V., Svetel A.
Etnologické rozpravy (Ethnological Disputes)
|
2021
|
vol. 28
|
issue 1
52 – 65
EN
Based on the research of the topics and themes that appeared on the selected pages, groups and profiles on Facebook and Instagram during the two periods of the COVID-19 pandemic, the article highlights the local reflections of the epidemic situation in Slovenia, while showing the intertwinement of on- and offline spheres of social life. It also brings forth questions of online communities, discusses the transformation of local epidemic discourses and reconsiders some of the methodological postulates of digital ethnography.
5
Publication available in full text mode
Content available

Performatywne alter ego

57%
Szuba A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2018
|
vol. 26
108-133
EN
Performative alter ego The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conven- tional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of re- cording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The ques- tion arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
6
Publication available in full text mode
Content available

#TROPY#FEMINIZM

50%
Szuba A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2018
|
vol. 25
88-107
EN
#tropy#feminizm The contemporary media message can be perceived in two perspectives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media mes- sage. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which al- lows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audience expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the view), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this begins to happen. Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.