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)

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)

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 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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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.

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)

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)

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of (...) mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast perceptual processing of an image, we also consider factors involved in the slower re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken—portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: Users assess images at a first glance—by swiping through a stack of images—focusing on visual aspects that might be decisive to classify them from “low quality” to “acceptable” to, in rare cases, “an exceptionally beautiful picture.” Users make more deliberate decisions regarding one’s “favorite” picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology. (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 ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dogmatic Slumber ofHume Scholarship Nicholas Capaldi State of the Art If one were to enumerate the issues that have received the most attention in Hume scholarship during the last half century, the list would undoubtedly feature the so-called principle ofinduction, causal necessity, the self, the relationship offact and value, scepticism, and the argument from design. If one were to ask what is the popular consensus on Hume's position (...) vis-à-vis these issues, the answer would be something Uke the following: Hume in his Treatise, first challenges his reader to produce a single simple idea that is not a copy of a corresponding impression. And he then abandons the inductive pattern of argumentation so as tobe free to use his inductively supported principle—the principle that every simple idea is a copy of a previous impression—as the foundation of his deductive arguments that we have no rational title to believe in the existence of causal connexions, objective moral values, continuing selves, or physical processes independent of our experience.1 Depending on how they are understood, each of these assertions about Hume could be either false or misleading. We note, for example, that Hume made complex ideas and not simple ideas the centre ofhis philosophy; thatcomplex ideas are not whollyreducible to simple ideas, and therefore not analysable without remainder into component impressions; that complex ideas were explicated by Hume in terms of the natural relations that spring from the mind's association of ideas (Hume claimed that "the principle of the association of ideas" was his major innovation in philosophy);2 that the associative activity of the mind is an instance, in Hume, ofthe self, notits denial; that the positive Humean conception ofthe selfis given in book 2 on the passions, which many never read; that Hume's entire Newtonian programme in the Treatise is based on the assumption that there are physical processes independent of human experience; that Hume did not deny causal connections, only the philosophical "necessity" that others ascribe to causal connections, and that he did so in the interest ofexplicating how Volume XVIII Number 2 117 NICHOLAS CAPALDI Newton's physicshadreplacedAristotelian physics; and, finally, Hume argued for the intersubjective validity ofconventional moral values on transcendental grounds. Few, ifany, ofthese positive points made here about Hume are new, mosthaving already appeared somewhere in the secondary literature. Yet these points have had little cumulative impact. The reason for this is that we are all always working under or against a pervasive misrepresentation of Hume. The thesis ofthis paper is that despite the best efforts ofa number of writers, starting all the way back with Kant and including John Davis, a canonic misreading of Hume continues to haunt textbooks, courses in the history of philosophy and philosophical education in general, journals, endless dreary dissertations, programme committees, and the minds of Hume scholars. We hope that by identifying and spelling out the programmatic nature of the canonic misreading, Hume scholarship will be awakened from its dogmatic slumber. What is the origin of the present canonic misreading of Hume?3 Some clue can be gained by noting the kind of unity the misreading quoted above imposes on Hume. The misreading derives all ofHume's positions in neat deductive order from Hume's supposed epistemology. Itmakesitappearasifeverypositionis the natural logical consequence of Hume's alleged empiricism. The recent origin of this canonic misreading ofHume is analytic philosophy. The Origin ofthe Canonic Misreading ofHume Analytic philosophy has been and remains the dominant school of philosophy in the twentieth century in the English language cultures where Hume is most hkely to be read. Analytic philosophy is itself a product of, and the twentieth century voice of, the Enlightenment Project.4 As an eighteenth century writer, Hume is not only associated with the Enlightenment Project but it is claimed by analytic philosophers that Hume is one of the progenitors of that project5 and therefore one of the progenitors of analytic philosophy itself. In short, the present canonic misreading of Hume originates in the analytic misappropriation of Hume to its own version of the Enlightenment Project. What is the Enlightenment Project? It is generally said that the Enlightenment replaced authority, faith, and tradition with reason... (shrink)

El propósito es explicar cómo la crisis de la institución familiar lleva implícita una crisis en el sujeto humano, que desde la auto­nomía y la libertad se proponía como proyecto de vida conformar una familia. El modelo de análisis está centrado en esa configu­ración de las nuevas formas de familia, mediadas por el influjo de las tecnologías, especialmente, las fotografías digitales o las selfies como formas de expresión cotidiana donde ya no está presente la narración ni la historia, aunque sí (...) está la imagen. La metodología de investigación utilizada en este análisis es la hermenéutica feno­menológica a partir de manifestaciones relacionales mediadas por un generador de significado como es la selfie que se pone presente en este espacio conjunto de realidad y virtualidad. La tarea desde la educación es ser propositivos construyendo con los jóvenes nuevos sentidos de esperanza para que esas nuevas formas de familia sean espacios de amor. (shrink)

Augmented reality facial effects represent a new trend in social media communication based on ‘short forms’. The article proposes a tripartite analysis: a semiotic analysis of digital facial effects used to empower the natural users’ faces; a deconstructionist analysis of Spark by Meta, one of the major software applications to create such effects and, finally, a critical reflection on the practices prescribed by Spark and the stereotypical aesthetics of augmented selfies. The conclusion states that such forms of augmented reality effects (...) must be conceived not as oriented to the cognitive improvement of users’ performance but rather as forms of users’ empowerment and self-awareness. (shrink)