#stemfie: reconceptualising liveness in the era of social media
This article demonstrates ‘the stemfie’ to be an interesting current example of the enactment of liveness within media practices. The photo taken of oneself while (or just after) voting and consequently shared with others via online social networks, connects us to an event that is important to us as it unfolds, enacting the two core features of liveness: immediacy and affinity. Furthermore, it provides insight into the ways in which media user, media content, and media technology interact within current media practices. The particular approach of liveness as a construction of user, content, and technology that is introduced in this paper, provides scholars and media professionals alike with a durable model to reflect on changes in the media landscape.
|Publisher||Netherlands Institute for Sound and Vision|
|Journal||Tijdschrift voor Mediageschiedenis|
|Rights||Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).|
|Note||TMG Journal for Media History; Vol 18, No 1 (2015); 85-100|
Hammelburg, Esther. (2015). #stemfie: reconceptualising liveness in the era of social media. Tijdschrift voor Mediageschiedenis, 18(1), 85–100. doi:10.18146/tmg.108