Edited by Allison McCracken, Alexander Cho, Louisa Stein and Indira Neill Hoch, the 404 pages of A Tumblr Book: Platform and Cultures are out with University of Michigan Press, on open access. This monumental work also includes a conversation on Tumblr porn we did with Alex Cho and Noah Tsika, titled “Walled Gardens, NSFW Niches, and Horizontality,” before the platform introduced the NSFW ban late in 2018. How soon things become history, and oh how sorely the old Tumblr is missed!
Category Archives: internet research
Join us for a Zoom spectacle on the intimacies of data on October 23 with Deborah Lupton, Minna Ruckenstein and Irina Shklovski! Organized by the Strategic research Council consortium, Intimacy in Data-Driven Culture and open for all: follow the link here. Talks will also be recorded and uploaded on our site for later viewing.
Our NSFW: Sex, Humor and Risk in Social Media, has just been chosen for the 2020 Association of Internet researchers’ Nancy Baym book award. Kylie Jarrett, Ben Light and I are deeply honored as the recognition means much coming from an association that we’ve all been involved with for a long time. This is what the jury had to say:
“NSFW is a wonderful, original and surprising book that deeply and critically interrogates issues around sex, porn, safety, and labor, be that the labor of producing online porn or keeping Facebook “safe”. The book weaves together its various threads (dick pics, algorithmically-produced art, misogynistic online harassment, and much more) to produce a compelling account of aspects of digital culture that – whether we like it or not – touch us all. Drawing on a variety of empirical materials and theoretical insights, NSFW is, in many ways, the consummate AoIR book: the very collaboration between Paasonen, Jarrett and Light was conceived at AoIR conferences, work in progress was presented at AoIR conferences, and the book is in constant dialogue with work produced by the AoIR community. Read more: https://mitpress.mit.edu/books/nsfw.”
I’ve described my past few years as exceptionally crazy work-wise and it’s not just a figment of my melodramatic imagination. Many Splendored Things (2018) and NSFW (2019, with Kylie Jarrett and Ben Light) were both mainly written in 2017. We coined the prospectus for Who’s Laughing Now? Feminist Tactics in Social Media with Jenny Sundén in December 2017, wrote it in 2018-2019, and the book will be out this November. The proposal for Objectification: On the Difference Between Sex and Sexism with Feona Attwood, John Mercer, Alan McKee and Clarissa Smith was done two years ago and the actual thing is due out August. Last but not least, Dependent, Distracted, Bored: Affective Formations in Networked Media, for which I started collecting material back in 2012, has a due-date for March. One book already has a cover (with Barbie! and glitter!), am looking forward to the other designs materializing.
Very glad that our Affective Body Politics special issue, coedited with Kaisu Hynnä-Granberg and Mari Lehto, is now out with Social media + society, on open access. The eight articles are based on presentations at the Affective Politics of Social Media symposium that we organized at University of Turku in 2017, and they explore all kinds of things from Reddit tributing to debates on public breastfeeding, Chaturbate, #MeToo, Netflix bingeing, fat activism and the online platforms of Transgender Nation.
I’m so delighted to be invited to the Association of Internet Researchers Flashpoint Symposium 2020, in Porto Alegre, Brazil, April 17, which is bound to be fabulous:
The theme of the conference, “Digital Transformations: Polarization, media manipulation, and resistance”, seeks to discuss political polarization and media manipulation, focusing on their effects on young democracies of Latin American and Brazil in the context of digital transformations. Most Latin American countries, such as Brazil, Chile, and Argentina, have a history of several years of violent dictatorships. Much of these periods were marked by censorship and mass media manipulation. In recent years, social media brought the opportunity for people to organize themselves around political participation, offered them more information and the tools to make public demands directly to congressmen and congresswomen. However, social media have also played an important role in the crisis these young democracies face today, as it also provides a space for hate speech, intolerance, and extremization. At the same time, a myriad of social media practices that revolve around digital transformations and expressions promote different, positive agendas, covering a broad range of everyday activities, sociabilities and subjectivities in various platforms such as YouTube, Twitter, Instagram, etc.
An interview on our new book and what the whole thing is about is freshly out in the MIT Press Reader. And this is the editors’ intro:
The hashtag #NSFW (not safe for work) acts as both a warning and an invitation. NSFW tells users, “We dare you to click on this link! And by the way, don’t do it until after work!” Unlike the specificity of movie and television advisories (“suggestive dialogue,” “sexual content”), NSFW signals, nonspecifically, sexually explicit content that ranges from nude selfies to pornography. But Susanna Paasonen, Kylie Jarrett, and Ben Light, the authors of “NSFW: Sex, Humor, and Risk in Social Media,” argue that when applied across the board to all kinds of sexual images and formations, “the tag NSFW flattens crucial differences between them under the opaque blanket of offensiveness, riskiness, and unsafety that it connotes.” They maintain that if we are to envision social media ecologies capable of accommodating sexuality as a field of pleasure, communication, occupation, and world-making, it is crucial to resist categorical effacement of sexually suggestive and explicit content.
We asked Paasonen, Jarrett, and Light about how subjectivity and politics contribute to the nuances of what is designated “not safe for work,” how the hashtag reinforces our culture of heterosexism, and about its effects on the careers of sex workers across social media platforms.
Written together with the fantastic Jenny Sundén, our article, Inappropriate Laughter: Affective Homophily and the Unlikely Comedy of #MeToo, is just out, on open access, as part of Social Media + Society’s special issue on “Affective Body Politics” that I’ve edited with Kaisu Hynnä-Granberg and Mari Lehto. This is also a teaser for our forthcoming book with Jenny, Who’s Laughing Now? Feminist Tactics in Social Media, which should be out and about next autumn with MITP. And here’s the abstract:
This article investigates the affective and ambiguous dynamics of feminist humor as an unexpected strategy of resistance in connection with #MeToo, asking what laughter may do to the sharpness of negative affect of shame and anger driving the movement. Our inquiry comes in three vignettes. First, we deploy Nanette—Hannah Gadsby’s 2018 Netflix success heralded as the comedy of the #MeToo era—arguing that the uniform viral warmth surrounding the show drives the emergence of networked feminisms through “affective homophily,” or a love of feeling the same. With Nanette, the contagious qualities of laughter are tamed by a networked logic of homophily, allowing for intensity while resisting dissent. Our second vignette zooms in on a less known feminist comedian, Lauren Maul, and her online #MeToo musical comedy riffing off on apologies made by male celebrities accused of sexual harassment, rendering the apologies and the men performing them objects of ridicule. Our third example opens up the door to the ambivalence of irony. In considering the unexpected pockets of humor within the #MeToo scandal that ripped apart the prestigious institution of the Swedish Academy, we explore the emergence of carnivalesque comedy and feminist uses of irony in the appropriation of the pussy-bow blouse as an ambiguous feminist symbol. Our examples allow us to argue for the political importance of affective ambiguity, difference, and dissent in contemporary social media feminisms, and to highlight the risk when a movement like #MeToo closes ranks around homogeneous feelings of not only shame and rage, but also love.
An excerpt from our new book with Kylie Jarrett and Ben Light, NSFW: Sex, Humor, and Risk in Social Media, is up at Literary Hub, just here. With the title, “What does ‘NSFW’ Mean in the Age of Social Media?”, it’s actually the first part of our chapter on dick pics and looks at the different roles that humor and gendered naked bodies play in the viral logics of social media.
Edited by Anne Fleig and Christian von Scheve, Public Spheres of Resonance: Constellations of Affect and Language, is out with Routledge. It has a fabulous lineup, from Anna Gibbs to Britta Timm Knudsen and Ann Cvetkovich. And me! My contribution is titled “Resonant Networks: On Affect and Social Media” and, well, asks how the concept of resonance may work in studies of social media. This is the intro/abstract:
In an era of clickbait journalism, Twitter storms, and viral social media campaigns varying from social protest to commodity promotion, it has become strikingly clear that networked communications are not merely about critical rational exchange or functional information retrieval, but equally – and perhaps even more explicitly – an issue of affective exchanges and connections of both the fleeting and more lasting kind. As argued in this chapter, the notion of affective resonance provides a means of accounting for encounters with the world in which bodies move from one state to another, and possibly become transformed in the process. This conceptualization is hardly specific to online phenomena as such, and it is used here to explore affective encounters between people, networks, interfaces, apps, devices, digital images, sounds, and texts in the context of social media. Moving from my own considerations of resonance in connection with online pornography to examinations of the role, both pronounced and not, that affect has played in Internet research, this chapter asks how affect matters and makes things matter in a contemporary media landscape driven by the quests for attention, viral circulation, and affective stickiness.