Goffman’s (1959) dramaturgical identity theory requires modification when theorising about presentations of self on social media. This chapter contributes to these efforts, refining a conception of digital identities by differentiating them from ‘corporatised identities’. Armed with this new distinction, I ultimately argue that social media platforms’ production of corporatised identities undermines their users’ autonomy and digital well-being. This follows from the disentanglement of several commonly conflated concepts. Firstly, I distinguish two kinds of presentation of self that I collectively refer to (...) as ‘expressions of digital identity’. These digital performances (boyd 2007) and digital artefacts (Hogan 2010) are distinct, but often confused. Secondly, I contend this confusion results in the subsequent conflation of corporatised identities – poor approximations of actual digital identities, inferred and extrapolated by algorithms from individuals’ expressions of digital identity – with digital identities proper. Finally, and to demonstrate the normative implications of these clarifications, I utilise MacKenzie’s (2014, 2019) interpretation of relational autonomy to propose that designing social media sites around the production of corporatised identities, at the expense of encouraging genuine performances of digital identities, has undermined multiple dimensions of this vital liberal value. In particular, the pluralistic range of authentic preferences that should structure flourishing human lives are being flattened and replaced by commercial, consumerist preferences. For these reasons, amongst others, I contend that digital identities should once again come to drive individuals’ actions on social media sites. Only upon doing so can individuals’ autonomy, and control over their digital identities, be rendered compatible with social media. (shrink)

There has been increasing attention in sociology and internet studies to the topic of ‘digital remains’: the artefacts users of social network services (SNS) and other online services leave behind when they die. But these artefacts also pose philosophical questions regarding what impact, if any, these artefacts have on the ontological and ethical status of the dead. One increasingly pertinent question concerns whether these artefacts should be preserved, and whether deletion counts as a harm to the deceased user and therefore (...) provides pro tanto reasons against deletion. In this paper, I build on previous work invoking a distinction between persons and selves to argue that SNS offer a particularly significant material instantiation of persons. The experiential transparency of the SNS medium allows for genuine co-presence of SNS users, and also assists in allowing persons (but not selves) to persist as ethical patients in our lifeworld after biological death. Using Blustein’s “rescue from insignificance” argument for duties of remembrance, I argue that this persistence function supplies a nontrivial (if defeasible) obligation not to delete these artefacts. Drawing on Luciano Floridi’s account of “constitutive” information, I further argue that the “digital remains” metaphor is surprisingly apt: these artefacts in fact enjoy a claim to moral regard akin to that of corpses. (shrink)

This paper examines the forms of life established through the visual governance of the Australian social security mobile app —the Express Plus Centrelink app. It is argued that the app exceeds established accounts of juridical and administrative power. The app involves a seeing that is not public, a responding that is not writing and a de-materialisation of an institution and its disciplinary apparatus. It is argued that the app creates proto-literate subjects that are required to respond to a real-time sequence (...) of images in a highly structured and circumscribed manner to become complicit in the digitalisation of their life. (shrink)

This paper argues that Walter Benjamin’s “The Work of Art in the Age of its Technical Reproducibility” provides a rich analytic framework for understanding how the many dimensions of aesthe...

While recent science and technology studies literature focuses on “projectification” and its felt tensions for researchers, a surprising scarcity of empirical work addresses experiences at the “other end,” such as funding bodies often held “responsible” for tensions encountered by researchers. Actors in funding bodies experience similar tensions, however. While projectification necessitates predictability and individual project objectives, research funding is also increasingly organized in networks promoting local experimentation. Moreover, funding bodies are part of a system of accountability in which investments are (...) legitimized politically in often reductionist ways. We argue for the salience of more detailed empirical investigations into the work of funding bodies as they navigate these tensions. We apply a dramaturgical perspective to investigate the “staging work” of program committees responsible for the management of funded programs, identifying three forms of staging work: setting the scene, temporal narration, and signifying success. All come with discursive, material, and symbolic dimensions. We develop the notion “adaptive coherence” to show how the program committee sought to maintain the coherence of the overall program despite continuous risks of fragmentation due to projectification, local experimentation, and divergence in interests. “Adaptive coherence” proves productive in incorporating the temporal and spatial dimensions of staging work in networked contexts. (shrink)

Privacy is a sociocultural perception, depending on the dominant values of a society, sociocultural heritage, and contemporary technological developments. This article focuses on privacy perception among adolescents based on a European school survey (PRACTIS), and presents comparative results of an exploratory study conducted among over 1,428 adolescents in six countries. The results reveal that adolescents attribute high value to privacy and are prepared to actively oppose if an online corporation is challenging their personal interests. However, they tend to trade off (...) privacy for other perceived benefits. Adolescents’ privacy perception and data protection are affected by cultural diversity, age, gender, and most of all their various social network sites activities and their attitudes toward importance of sharing and controlling personal information. (shrink)

Business ethics (BE) professors play a crucial role in sensitizing business students toward their future ethical responsibilities. Yet, there are few papers exploring the ethical challenges these professors themselves face while teaching BE. In this qualitative paper, we rely on the lenses of ethical sensemaking and dramaturgical performance, and draw from 29 semi-structured interview conducted with BE professors from various countries and field notes from 17 h of observation of BE classes. We identify four kinds of rationalities that professors rely (...) on for making sense of in-class ethical challenges, eventually leading them to engage in one of four corresponding types of performances. By juxtaposing high and low scores of two underlying dimensions (degree of expressivity and degree of imposition), we offer a framework of four emerging performances. Additionally, we show that professors can shift from one performance to another during the course of their interactions. We contribute to performance literature by demonstrating the plurality of performances and explaining their emergence. We also contribute to sensemaking literature by offering support to its recent turn from an episodic (crises or disruption-based) to a relational, interactional, and present-oriented understanding. Since professors’ performances have an impact not only on their own teaching experiences but also on students’ learning experiences, undermining these would result in compromising the efforts that business schools have been making toward sensitizing future managers to their ethical responsibilities. (shrink)

The well-being of children and young people has been affected by the COVID-19 pandemic. The shift to online education disrupted daily rhythms, transformed learning opportunities, and redefined social connections with peers and teachers. We here present a qualitative content analysis of responses to open-ended questions in a large-scale survey of teachers and students in Romania. We explore how their well-being has been impacted by online education through overflow effects of the sudden move to online classes; identity work at the individual (...) and group levels; and Students’ and teachers’ presentations of self in the online environment, with a focus on problematic aspects of webcam use. The results indicate that both students and teachers experienced ambivalence and diverse changes in well-being, generated by the flexibility, burdens, and disruptions of school-from-home. The identities associated with the roles of teacher and student have been challenged and opened for re-negotiation. Novel patterns have emerged in teachers’ and Students’ identity work. Failure or success at the presentation of self in online situations is relevant for the emotional valence of learning encounters, impacting well-being. Online classes have brought about new ways to control one’s presentation of self while also eliminating previous tactics and resources. The controversy regarding webcams has captured this duality: for some, the home remained a backstage that could not be safely exposed; for others, the home became a convenient front stage for school. Well-being was affected by the success of individual and collective performances, and by student-teacher asymmetries. Overall, our study of online learning indicates powerful yet variable influences on subjective well-being, which are related to overflow effects, identity work, and presentation of self. (shrink)

In our account of artistic identities among electronic music artists, we point to the notion of persona as a key element in a triadic framework for studying the dynamics of identity. Building on pragmatist theory, we further draw on Pizzorno’s concept of mask and Luhmann’s notion of second-order observation to highlight the dual properties of persona: whether like a mask that is put on or like a probe that is put out, persona is a part that stands apart. Persona is (...) an object that alter can recognize and by which ego can be recognized; but what is recognized defies the person’s complete control. We thus conceptualize identity as a multi-sided relationship that involves person, persona, and others. Building on our ethnographic research among electronic music artists in Berlin and New York, we characterize this relationship in terms of attachment between artist and persona, between artist and audience, and between persona and audience. These attachments are variable and independent from one another. The resulting model is an analytic tool to examine identity as the ongoing outcome of the three-way dynamics of such shifting attachments. We are attentive to persona because the creation and curation of online profiles have become a pervasive element in many people’s daily interactions in both social and work situations. (shrink)