*                            *        Naila Jinnah!     Queen’s University                                NASSS 2012
“As audiences move from predominantly passivespectators to publicly interactive contributorsthrough tools like Twitter, sp...
* Social media + identity* Digital fandom* Telecopresence (Shanyang Zhao)* The “other” within* The digital audience* Repre...
*  Selectivity in self-presentation*  Authenticity in self-presentation*  Digital cues for self-presentation*  Feedback on...
* Framing the digital “first impression”       * Fandom as content       * Gaps in visualization process due to lack of   ...
* “This disembodied state allows people in different geographical locations to communicate in real time through electronic...
* Post-modern assemblage: “The self constructed via prosthesis (keyboard, mouse) using reproductive technologies (digital ...
* Crisis of representation* Artificial self* Digital confessionals* Dual audiences        *                              N...
* Twitter as a mode of representation* Identity enactment as performance* “It is the transmission of meanings through perf...
* Social interactions: “dramaturgical performances shaped by environment and audience, aimed at creating specific impressi...
*      NASSS 2012
* Contact me:    njinnah@gmail.com               @NailaJ              *                                    NASSS 2012
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The Digital Self: Sport fan identity formation in the digital

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Presentation given on Friday, November 9, 2012 at the annual North American Society for the Sociology of Sport (NASSS) conference, in New Orleans, Louisiana.

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The Digital Self: Sport fan identity formation in the digital

  1. 1. *  *  Naila Jinnah! Queen’s University NASSS 2012
  2. 2. “As audiences move from predominantly passivespectators to publicly interactive contributorsthrough tools like Twitter, sport consumption hasbecome a “key source of personal identity – bothmaterial and symbolic, that is it meets needsand it expresses a person’s place in the world.” (Horne, 2006, p. 71) *  NASSS 2012
  3. 3. * Social media + identity* Digital fandom* Telecopresence (Shanyang Zhao)* The “other” within* The digital audience* Representation (Stuart Hall)* Performance (Ervin Goffman)* The “real” world *  NASSS 2012
  4. 4. *  Selectivity in self-presentation*  Authenticity in self-presentation*  Digital cues for self-presentation*  Feedback on self-presentation *  NASSS 2012
  5. 5. * Framing the digital “first impression” * Fandom as content * Gaps in visualization process due to lack of physical markers in digital interaction * Partially filled through assumptions made based on publicly available digital content vs. *  NASSS 2012
  6. 6. * “This disembodied state allows people in different geographical locations to communicate in real time through electronic mediation in a corporeal interaction format; the people interacting are present in person at their local sites but connected by an electronic proximity rather than a physical proximity.” *  NASSS 2012
  7. 7. * Post-modern assemblage: “The self constructed via prosthesis (keyboard, mouse) using reproductive technologies (digital camera, voice) is a unique production only loosely associated with something like a “real” referent. Ultimately, it relates within the ontological space of other selves in the same plane – even to the manifestations of the same self under erasure but still existing as a glossy mirage or echo, an earlier self.” (Barnett, 2009) *  NASSS 2012
  8. 8. * Crisis of representation* Artificial self* Digital confessionals* Dual audiences *  NASSS 2012
  9. 9. * Twitter as a mode of representation* Identity enactment as performance* “It is the transmission of meanings through performance (enactment) that actually constructs these meanings and identities.”* Repetition of performative acts of fandom contributes to sports fandom discourse *  NASSS 2012
  10. 10. * Social interactions: “dramaturgical performances shaped by environment and audience, aimed at creating specific impressions according to the desired purpose of the actor.” (Bounegru, 2008)* Twitter performance: * Deliberate expressions in order to contribute to a certain image others may have of that tweeter * Seemingly unintentional expressions which provide cues to determine what kind of person tweeters are “behind” their mediated self *  NASSS 2012
  11. 11. *  NASSS 2012
  12. 12. * Contact me: njinnah@gmail.com @NailaJ *  NASSS 2012

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