What are we to make of the “self” captured in a “selfie”? If one is both author and subject of an image, we might claim a compelling authenticity. But like Donna Haraway’s “cyborg,” the “self” captured in a selfie is subject to replication, participating in mutable, sometimes strategic, subjectivities. Both atoms and bits construct our reality. Extending Haraway’s articulation of the “leaky distinction” between animal and machine, this post considers the intersections of embodiment, agency, and digital modes of being, by way of the selfie—in particular, selfies’ re/production of malleable digital bodies. I theorize malleability, or the capability of being…
Recent Posts
- Promoting Global Understanding and Multicultural Communication Through Arts-Based Research in ESL Classrooms
- Digital Pedagogy and Pentiment (2022): Playing with Critical Art History
- Syllabus Repository Update: AI and Writing
- An Interview with Dr. Aaron Mauro on Hacking in the Humanities: Cybersecurity, Speculative Fiction, and Navigating a Digital Future
- Introduction to Alex Mashny
- Call for Syllabi: Artificial Intelligence (AI) and Writing
- Introduction to Saurabh Anand
- Introduction to Anuj Gupta