This article explores the relationality between women’s bodies and selfies on NSFW (Not Safe For Work) tumblr blogs. We consider the way selfie practices engage with normative, ageist and sexist assumptions of the wider culture in order to understand how specific ways of looking become possible. Women’s experiences of their bodies change through interactions, sense of community and taking and sharing selfies. This article provides an empirical elaboration on what sexy selfies are and do by analysing interviews, selfies and (...) blog content of nine women in the NSFW self-shooters community on tumblr. For our participants, self-shooting is an engaged, self-affirmative and awareness raising pursuit, where their body, through critically self-aware self-care, emerges as agentic, sexual and distinctly female. Thus, this is a reading of selfies as a practice of freedom. (shrink)

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared (...) have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love. (shrink)

Riassunto : Gli autori di autoritratti fotografici possono esprimere diversi aspetti della loro personalità. In particolare, i selfie enfatizzano difficoltà nella connessione cervello-corpo, una fantasia di auto creazione e il bisogno di rimuovere qualsiasi mediazione nella creazione di un’immagine personale. Il fine della pubblicazione di un selfie non nasce dal bisogno di una relazione reale, ma deriva dalla necessità di un’auto-conferma narcisistica. Il pensiero che si produce quando una persona scatta e condivide un selfie esclude la mentalizzazione (...) e non è orientato verso il mondo interno individuale, ma si concentra su un pensiero di auto-rispecchiamento della persona che lo posta. I selfie non rivelano solo livelli variabili di narcisismo dell’autore, a seconda delle tipologie di selfie, ma possono essere segni di alcuni tratti di personalità schizoide, dipendente, istrionica, evitante e anche in alcuni casi borderline. Parole chiave : Selfie; Narcisismo; Autorappresentazione; Rapporto corpo/mente; Social network; Comunicazione Selfie: Hidden Thoughts, Self-creation Fantasy, Personality Traits: Self-portrait photographs can express different aspects of the author’s personality. In particular, selfies magnify difficulties with the brain-body connection, self-creation fantasies and a felt need to remove any mediation involved in the creation of a personal image. The impulse to publish selfies does not stem from a need for real relationships, but rather serves narcissistic self-confirmation. When a person takes and shares a selfie, she avoids mentalisation and does not orient towards her internal world, but instead focuses on self-mirroring the posing person. Selfies not only reveal the variable shades of the author’s narcissism, depending on the typology of the selfie, but can also reveal signs of certain schizoid, dependent, histrionic, avoidant, and sometimes even borderline personality traits. Keywords: Selfies; Narcissism; Self-representation; Mind/Body Relationship; Social Network; Communication. (shrink)

Inspired by posthuman feminist theory, this paper explores young people’s entanglement with the bio-technological landscape of image creation and exchange in young networked peer cultures. We suggest that we are seeing new formations of sexual objectification when the more-than-human is foregrounded and the blurry ontological divide between human and machine are enlivened through queer and feminist Materialist analyses. Drawing upon multimodal qualitative data generated with teen boys and girls living in urban inner London and semi-rural Wales we map how the (...) digital affordances of Facebook ‘tagging’ can operate as a form of coercive ‘phallic touch’ in ways that shore up and transgress normative territories of dis/embodied gender, sexuality and age. We conclude by arguing that we need creative approaches that can open up spaces for a posthuman accounting of the material intra-actions through which phallic power relations part-icipate in predictable and unpredictable ways. (shrink)

The article focuses on past epidemics and previous confinements, looking for the art of journeying through immobility. It rekindles the plague that ravaged the city of Turin in the 1630s, as well as Xavier de Maistre who, confined in the military citadel in 1790, wrote the Voyage autour de ma chambre, perhaps the first example of modern ‘anodeporics’, a neologism to designate immobility travelogues. The essay then explores other pandemics and subsequent attempts at imitating De Maistre. First, it concentrates on (...) Wilkie Collins, the author of the 1852 short story “A Terribly Strange Bed”, who remained stranded with his father William, the painter, at the frontier of the Kingdom of Piedmont because of the cholera that broke out there in 1836. Second, it bears on Almeida Garrett, who resisted the siege of typhus-struck Oporto in 1832-3 and, ten years later, penned another classic of ‘anodeporics’, Viagens na minha terra, also inspired by De Maistre. After consideration, from the perspective of semiotics, of what is needed to “journeying throughout immobility”, the essay ends with a study of the most famous anodeporic tale in world literature, also containing ironic quotes by De Maistre: Jorge Luis Borges’ El Aleph, named after a fictional device for mystical travel confined in a basement of 1940s Buenos Aires. The conclusion of this semiotic exploration through pandemics, lockdowns, and immobility travelogues is simple: in case of forced immobility, the practice of exploring space through time can be replaced by the alternative practice of exploring time through space. (shrink)

Teen girls’ ‘sexy selfies’ have become highly politicised over the last years, and while feminist scholars have comprehensively analysed present day discourses about this topic, research about teen girls’ own reflections is still scarce. Studies that did include girls’ voices demonstrated how girls’ navigations of sexiness are related to the performance of gender and sexuality. The present article, which is based on ethnographic fieldwork among Dutch young people, contributes to and extends this strand of research by exploring how girls’ navigations (...) of sexy selfies are related to the performance of not just gender and sexuality, but also other intersecting axes of social differentiation, including axes that have remained undertheorised such as smartness, maturity and popularity. Through their navigations of sexy selfies, girls perform complex, intersectional identities in interaction with dominant discourses about sexiness, the materiality of their bodies, their social position and the specific context of self-making practices. Involving this complexity in discussions about sexy selfies can create promising opportunities for interrogating social norms, stereotypes and power inequalities. (shrink)

As a reference to Lacan’s »mirror stage«, the »Mirror-Selfie-Stadium« show a reflexive turn within subjectification. The individualization of image production through digital and dating platforms is the starting point to reveal as such. In the article reference to so-called primitive accumulation (Marx) the origin of the internal rupture of the bourgeois subject shows that the individual subject in a capitalist society must be an interface for its own capitalist socialization and originates from this quandary situation. The actual techniques of (...) digitization continue this origin by forcing the subject to expand itself, but also its objects, by divisions, splits and valorizing. These divisions at once unleash the productive power of capitalist society. (shrink)

Zusammenfassung Am Beispiel der häufig zum Symptom eines narzisstischen Zeitalters erklärten Selfie-Praxis wird in diesem Text das Verhältnis von Selbstdarstellung und Verkündigung bedacht. Das in den Sozialen Medien verbreitete Phänomen, sich selbst zum Bild zu machen und anderen Bilder von sich selbst zu präsentieren, tritt dabei als ein religiös grundiertes Unterfangen vor Augen. Eine Sehnsucht nach unvergänglicher Gegenwart lässt sich in der Selfie-Praxis ebenso artikuliert finden wie ein Bewusstsein für die undarstellbare Dimension des individuellen Selbst. Beide Aspekten werden (...) zudem als Versuch eines produktiven Umgangs mit herausfordernden Entwicklungen der Moderne verstanden: mit der durch den sozialen Beschleunigungsdruck hervorgerufenen Gegenwartsschrumpfung auf der einen und dem Zwang zur digitalen Selbstpräsentation auf der anderen Seite. Mithin lässt sich das im Selfie zum Ausdruck kommende Bewusstsein auf die Rede von Gott beziehen: auf Gott als Korrelat jener Sehnsucht nach unvergänglicher Gegenwart und als Inbegriff einer dem menschlichen Selbst unsichtbar eingeschriebenen Lebendigkeit. In dieser ihm innewohnenden Verweisstruktur lässt sich das Selfie selbst als verkündigungsförmig ansehen, was den auch in der Theologie verbreiteten Narzissmusvorwurf gegenüber religiösen Selbstdarstellungspraktiken nicht nur in der Predigtarbeit entkräften sollte. (shrink)

The book prescribes a way to educate ourselves and our young people how to disagree well and lays out a framework for flourishing together in society despite our radical differences.

This article responds to the phenomenon of Internet cats becoming pervasive in Web 2.0, while at the same time digitally shared self-portraits, commonly called “selfies,” also circulate with extremely high frequency. The author tracks the efficacy of sharing selfies for trans/two Spirit individuals such as artist Kiley May and in trans-centric hashtag campaigns. It shows that trans-animality in digital life can offer sovereign forms of subjectivity and engages response patterns that locate a trans point of regard. Further, it seeks to (...) explain why so many different kinds of cuteness are shared in the intimate superpublics of online trans* communities. Building on classic texts in philosophical cat studies, such as from Jacques Derrida, the concept of the “inappropriate/d other,” and contemporary cuteness theories, the article argues that cute aesthetics provide a sentimental shield, can counter sexual indifference, and often enact a mode of resilience crucial for surviving in cultures that erase the existence of trans people of color. (shrink)

It is important to understand the processes behind how and why individuals emerge as leaders, so that the best and most capable individuals may occupy leadership positions. So far, most literature in this area has focused on individual characteristics, such as personality or cognitive ability. While interactions between individuals and context do get research attention, we still lack a comprehensive understanding of how the social context at work may help individuals to emerge as leaders. Such knowledge could make an important (...) contribution toward getting the most capable, rather than the most dominant or narcissistic individuals, into leadership positions. In the present work, we contribute toward closing this gap by testing a mediation chain linking a leader's leader self-awareness to a follower's leadership emergence with two time-lagged studies (nstudy1 = 449, nstudy2 = 355). We found that the leader's leader self-awareness was positively related to (a) the follower's leadership emergence and (b) the follower's nomination for promotion and that both relationships were serially mediated by the follower's self-leadership and the follower's leader self-efficacy. We critically discuss our findings and provide ideas for future research. (shrink)

Advances in artificial intelligence, as well as its increased presence in everyday life, have brought the emergence of many new phenomena, including an intriguing appearance of what seems to be a variant of body dysmorphic disorder, coined “Snapchat dysmorphia”. Body dysmorphic disorder is a DSM-5 psychiatric disorder defined as a preoccupation with one or more perceived defects or flaws in physical appearance that are not observable or appear slight to others. Snapchat dysmorphia is fueled by automated selfie filters that (...) reflect unrealistic sociocultural standard. In this paper, we discuss how body dysmorphic disorder and related body image distortions could arise, using the conceptual resources provided by the active inference framework. We suggest that these disorders involve dysfunctional self-modelling which entails maladaptive internalization of sociocultural preferences during adolescent identity formation. Identity formation is hereby described as cycles of interpersonal active inference that arbitrate between identity exploration and commitment. We propose that impaired self-modelling is unable to reduce interpersonal uncertainty during identity exploration, which, over time, degenerates into uncontrollable epistemic habits that isolate the body image from corrective sensory evidence. In light of these insights, we subsequently explore some of the consequences of image-centered social media platforms on the identity formation process. We conclude that heightened interpersonal uncertainty in this novel context could precipitate the onset of body dysmorphic disorder and related body image distortions, particularly when selfie filters are involved. (shrink)

Advances in artificial intelligence, as well as its increased presence in everyday life, have brought the emergence of many new phenomena, including an intriguing appearance of what seems to be a variant of body dysmorphic disorder, coined “Snapchat dysmorphia”. Body dysmorphic disorder is a DSM-5 psychiatric disorder defined as a preoccupation with one or more perceived defects or flaws in physical appearance that are not observable or appear slight to others. Snapchat dysmorphia is fueled by automated selfie filters that (...) reflect unrealistic sociocultural standard. In this paper, we discuss how body dysmorphic disorder and related body image distortions could arise, using the conceptual resources provided by the active inference framework. We suggest that these disorders involve dysfunctional self-modelling which entails maladaptive internalization of sociocultural preferences during adolescent identity formation. Identity formation is hereby described as cycles of interpersonal active inference that arbitrate between identity exploration and commitment. We propose that impaired self-modelling is unable to reduce interpersonal uncertainty during identity exploration, which, over time, degenerates into uncontrollable epistemic habits that isolate the body image from corrective sensory evidence. In light of these insights, we subsequently explore some of the consequences of image-centered social media platforms on the identity formation process. We conclude that heightened interpersonal uncertainty in this novel context could precipitate the onset of body dysmorphic disorder and related body image distortions, particularly when selfie filters are involved. (shrink)

Digital technology in its various forms is a significant component of our working environment and lifestyles. However, there is a broad difference between using digital technologies in everyday life and employing them in formal education. Digital technologies have largely untapped potential for improving education and fostering students’ well-being and inclusion at school. To bring this to fruition, systemic and coordinated actions involving the whole school community are called for. To help schools exploit the full range of opportunities digital technologies offer (...) for learning, the European Commission has designed and implemented a self-reflection tool called SELFIE (Self-reflection on Effective Learning by Fostering Innovation through Educational Technology). Based on the DigCompOrg conceptual framework, SELFIE encompasses key aspects for effectively integrating digital technologies in school policies and practices. The present study investigates how SELFIE can also support the school community to self-reflect about students’ well-being and inclusion. In Italy, the SELFIE online questionnaire has been completed by 24,715 students, 5,690 teachers and 1,507 school leaders, for a total of 31,912 users from 201 schools (at primary, lower secondary and upper secondary levels) located in ten different regions. The complementary data we have collected regarding student well-being and inclusion highlight significant differences in the perceptions on this issue reported by students, teachers and school leaders. These findings have important implications for facilitating successful practices within the whole school community in order to promote students’ well-being and inclusion using educational technologies, as well as for planning future actions following a systemic approach. (shrink)

Instagram serves as a powerful instrument for youth socialization, self-expression, and self-performance in visual online spaces. Using social semiotics and multimodal discourse analysis, this study examines the potential ideological meanings and implications of selfie-shooting and sharing on Instagram on young adults’ self-concept. A corpus of 110 questionnaires, including almost 85 captioned selfies, was surveyed as multimodal utterances. In doing so, this study argues that selfies can create young adults’ split-selves while constructing their multiple personas in visual online spaces. This (...) marks the significance of viewing selfie-creators not only as authors of their selfies, but rather as viewers of a three-fold self: an ideal-self, a projected-self, and an internal-self, to negotiate social and power relationships, while (re)positioning observer-observed roles. This study claims originality in unraveling how young adults use visual and textual mediated communication to represent and perform their split-selves. It suggests that selfie-shooting-sharing has become a key self-performance tactic and behavior in online cultures. Therefore, young adults deploy selfies and captions to posit a redefinition of certain social values, such as aesthetics and freedom, while deploying their selfies and captions. Challenging certain orthodox social allegiances, they conceive wildness, messiness, and exuberance as emerging neo-aesthetics components of appeal. This study contributes to the literature on personal visual communication with insights on how Egyptian young adults perform their self-concept via the semiotic practice of selfie-shooting-sharing. (shrink)

Creating a mobile software-based exploration (artwork?/app?) puts the artist-coder in a position to interact with the mediated image streams that connect people on the Internet. The mediated streams often contain portraits and self-portraits, selfies, of the participants. These selfies are visual status messages of the people participating in the data streams. They can be used by the poster to identify themselves in the data stream and represent a way the creator of the selfie wants to be seen by the (...) social circle in which the image is posted. These images could reveal recognizable characteristics of the subject. The characteristics could be recognizable by people and software along the mediated path that the image traverses. Algorithmic intervention on the image affects the human and software interpretation of the image. In the works #autoselfie and FIFO ribbon, images are modified on a pixel level, in a way that the user of the app/work cannot control completely. The modifications reveals the potential power of the software systems to modify the imagery that people use to identify themselves in mediated communication environments. Moreover, the changes applied are chosen by the artist coder to impede recognition by software systems downstream but make human recognition possible in some cases. The alterations make the software in the app visible on a pixel level. The works then let the user post the altered images on Twitter or Google+ social media streams. The framing of this work as artwork or mobile app creates a tension, which affects audience interpretation and user experience choices made by the artist. These ideas are explored in the 2013 work #autoselfie and the 2014 work FIFO ribbon that runs on Android devices. #autoselfie was used to remix images created by winners of the South African 2013 Sanlam National Portrait Award, to explore the intervention of algorithms on mediated portraits and self-portraits. (shrink)

This paper discusses the value in implementing photography as a means of assessment in philosophy courses. I specifically discuss how I utilize this interdisciplinary method in my honors environmental philosophy course with encouraging results, and how it can be easily employed in other philosophy courses as well. Photography is the basis for one of my larger course projects, the environmental philosophy in photo project (EPPP). The EPPP offers students novel methods of applying and understanding environmental ethical theories and new ways (...) of making meaning. In the following, I offer a defense of photographic methods for philosophical assessments, project instructions, student learning objectives and feedback, overall effectiveness of the project, and potential uses of photographic methods in other philosophy courses. (shrink)

In this paper, the mode in which the self reveals itself in the contemporary world-historical situation will be analysed. Hence, the focus will be on a particular form of technological mediation of the self by examining a recent phenomenon commonly referred to as the s e l f i e. Unlike most psychological studies suggest, it will be argued that selfies enable a human epistemological need to realize self-knowledge. Thus, they are not a mere result of narcissistic disorder. Furthermore, I (...) will claim that the self-knowledge achieved via the selfie does not necessarily offer a lower level of aesthetic perfection as a means of self-knowledge gained via other “classical” art forms, and that the prejudice that this is the case is a result of a surpassed dualistic view of human nature. In the conclusion of the paper the investigation will be extended to the question of what the selfie can teach us about the essence of technology and, inversely, what from technology we can tell about the self. In doing so, Gehlen’s and Heidegger’s views on the essence of technology will be employed. Finally, to answer the question of whether the self can be revealed in the selfie, Heidegger’s criticism of modern technology will be emphasized and the difference between technology as a way of revealing and technology as a purpose will be underlined. (shrink)

What does a truly democratic experience of political action look like today? In this provocative new work, Adriana Cavarero weighs in on contemporary debates about the relationship between democracy, happiness, and dissent. Drawing upon Arendt's understanding of politics as a participatory experience, but also discussing texts by Émile Zola, Elias Canetti, Boris Pasternak, and Roland Barthes, along with engaging Judith Butler, Cavarero proposes a new view of democracy, based not on violence, but rather on the spontaneous experience of a plurality (...) of bodies coming together in public. Expanding upon the themes explored in previous works, Cavarero offers a timely intervention into current thinking about the nature of democracy, suggesting that its emergence thrives on the nonviolent creativity of a widespread, participatory, and relational power that is shared horizontally rather than vertically. From digital democracy to selfies to contemporary protest movements, Cavarero argues that we need to rethink our focus on individual happiness and turn toward rediscovering the joyful emotions of birth through plural interaction. Yes, let us be happy, she urges, but let us do so publicly, politically, together. (shrink)

Some of the significant features of our era include the design of large-scale systems; advances in medicine, manufacturing, and artificial intelligence; the role of social media in influencing behavior and toppling governments, and the surge of online transactions that are replacing human face-to-face interactions. Most of these features have resulted from advances in technology. While spanning a variety of disciplines, these features also have two important aspects in common: the need for sound decision making about the technology that is evolving, (...) and the need to understand the ethical implications of these decisions to all stakeholders. Technology is amoral: it does not know how it will be used. In fact, technological advancements have made it even easier to deceive, partly because of the new capabilities that are enabled by the technology (such as creating fake videos from selfies, known as "Deep Fakesʺ) and partly because of the level of complexity that is added to new advancements making the internal structure of a product less obvious to users and policy makers. (shrink)

"The body has always had the potential to unsettle us with its strange exigencies and suppurations, its demands and desires, and thus throughout the ages, it has continued to be a subject of interest and obsession. This collection of twelve peer-reviewed essays on Jacques Lacan and Michel Foucault interrogates the body in all of its beauty...and with all of its blights and blemishes. Written by a diverse body of scholars-art historians, cultural theorists, English professors, philosophers, psychoanalysts, and sociologists from North (...) America and Europe-these essays bring into conversation two intellectual giants frequently seen as antagonists, and thus rarely seen together. Topics covered include: the intersections of Foucault and Lacan and how they bring to light new thoughts on the senses, the self-destructive body, ableism and disability in Guillermo del Toro's film The Shape of Water, body image and the ego, selfie-culture, and metamorphosis in Ottessa Moshfegh's novel My Year of Rest and Relaxation, among others."-Provided by publisher. (shrink)

The cheerleader effect describes the phenomenon whereby faces are perceived as being more attractive when flanked by other faces than when they are perceived in isolation. At least four theories predict the cheerleader effect. Two visual memory processes could cause a cheerleader effect. First, visual information will sometimes be averaged in the visual memory: the averaging of faces could increase the perceived attractiveness of all the faces flanked by other faces. Second, information will often be combined into a higher-order concept. (...) This hierarchical encoding suggests that information processing causes faces to appear more attractive when flanked by highly attractive faces. Two further explanations posit that comparison processes cause the cheerleader effect. While contrast effects predict that a difference between the target face and the flanking faces causes the cheerleader effect due to comparison processes, a change in the evaluation mode, which alters the standard of comparison between joint and separate evaluation of faces, could be sufficient for producing a cheerleader effect. This leads to the prediction that even when there is no contrast between the attractiveness of the target face and the flanking faces, a cheerleader effect could occur. The results of one experiment support this prediction. The findings of this study have practical implications, such as for individuals who post selfies on social media. An individual’s face will appear more attractive in a selfie taken with people of low attractiveness than in a selfie without other people, even when all the faces have equally low levels of attractiveness. (shrink)

This study illustrates the strong relationship between world views and ethical values that are embedded in the lives ofa group of people called wong pinter. Some notes on the results of the study show the following points. First, on the basis of the categories of worldviews studied (classification, causality, space, time, and self-others relation), it is found that the concept of classification is not strong enough. The concept of space is also not sufficiently patterned, in contrast to the findings of (...) the concept of space on the Ainu people, the people of Bali and Yogyakarta. Wong pinter describes the concept of space in relation to the existence of non-human beings. The concept oftime is explained in more detail. Some of the views about time are intended to discipline and self-control. On the self-other concept, God becomes the most important element in His status as the Almighty. The selfis a common creature that interacts with other humans and non-human beings. Horizontally, the worldview of wong pinter pivots on the ethical elements of the relationship between God's creatures that synergize and create harmony so as to create a comfortable and peaceful life. Secondly, the basic concept of the worldview guides the wong pinter on the pattern of life both in society, self-control, keeping not to hurt others, and care about the hassles of others. Therefore, they are regarded as people who behave nobly and become role models in society. Thirdly, even though the wong pinterhas some abilities that are relatively similar to the abilities of the shamans (comrnon dukun) that have been mentioned by most researchers but the behavior of wong pinter is different from and even contradict the general characteristics of the dukun. Fourth, this study enriches the study of the concept of space, time, causality, and self-other relationships. This study also explicitly revise the theories that generalize the understanding and characteristics of dukun or wong pinter which has been widely associated with witchcraft, money, and worldly pragmatic goals. (shrink)

This article addresses traditional perceptions about photography's position between nature and culture and concomitant schools of thinking focusing pre-dominantly on the photographic image as a form of visual representation. Aiming to develop an alternative perspective it considers a biosemiotic approach and turns to Jakob von Uexküll's model of subjective sentient worlds that critically dissolves the perceived dualism between nature and culture that has also underpinned most theoretical thinking about photography in the past. Today photography is largely embedded into social media (...) platforms and their interlinked digital networks, which holds far-reaching consequences for a medium that in this current form can only be fully understood if it is considered as a form of embodied material practice. Aiming to understand some of the complex manifestations this technical evolution entails the article further considers the relevance of recent non-representational concepts arising out of cognition theory and cultural geography and uses the 'selfie' as a 'theoretical object'. (shrink)

Purpose – Contemporary technology has been implicated in the rise of perfectionism, a personality trait that is associated with depression, suicide and other ills. is paper explores how technology can be developed to promote an alternative to perfectionism, which is a self- constructionist ethic. Design/methodology/approach – is paper takes the form of a philosophical discussion. A conceptual framework is developed by connecting the literature on perfectionism and personal meaning with discussions in information ethics on the self, the ontic trust and (...) technologies of the self. To illustrate these themes, the example of selfies and self-portraits is discussed. Findings – e self today must be understood as both individualistic and relational, i.e., hybrid; the trouble is balance. To realize balance, the self should be recognized as part of the ontic trust to which all information organisms and objects belong. us technologically-mediated self-care takes on a deeper urgency. e selfie is one example of a technology for self-care that has gone astray (i.e., lost some of its care-conducive aspects), but this can be remedied if selfie-making technology incorporates relevant aspects of self-portraiture. is example provides a path for developing self- constructionist and meaningful technologies more generally. Practical implications – Technology development should proceed with self-care and meaning in mind. e comparison of selfies and self-portraits, situated historically and theoretically, provides some guidance in this regard. Some specific avenues for development are presented. Originality/value – e question of the self has not been much discussed in information ethics. is paper links the self to the ontic trust: the self can be fruitfully understood as an agent within the ontic trust to which we all belong. (shrink)