Stefanie Duguay, Jean Burgess, and Ben Light
Digital Media Research Centre, Queensland University of Technology
Draft working paper for the Digital Intimate Publics Symposium, 19-20 November 2015, University of Queensland, Brisbane, Australia
Abstract
This paper focuses on images of sexual desire that shape digital intimate publics of same-sex attracted women through related hashtags on social media platforms. While previous research has focused on same-sex attracted men’s use of digital technology to perform sexuality, studies of same-sex attracted women are sparse, focused on older technologies, and complicated by debates around gendered power relations. This is investigated by examining sexual content organised through hashtags related to same-sex attracted women (e.g., #lesbian, #gaygirl) on Instagram and Vine. Textual and visual analysis of user-generated content is paired with walkthroughs interrogating these platforms’ design, activity flows and features, identifying mediators that shape performances of sexual desire. Preliminary analysis shows that performances on Instagram can be divided into four categories: pornography and advertisements; memes, animations, and popular media; images of idealised ‘lesbians’; and personal selfies and sexy photos. On Vine, popular media and idealised lesbians are represented in fan mash-ups of YouTube celebrities while the majority of sexual performances involve sensual lip dubs and dancing to rap and hip hop music. Each platform provides unique affordances for these performances, such as Instagram’s filters and Vine’s audio track tools, as well as shared affordances like co-hashtags. Further analysis will allow for a better understanding of these multiple components of performances of sexual desire, presenting a view of Instagram and Vine’s digital intimate publics relating to same-sex attracted women.
Night 7k Call Girls Noida Sector 121 Call Me: 8448380779
Bikini selfies and suggestive lip dubs: Examining queer women’s performances of sexual desire in digital media
1. Bikini selfies and suggestive lip dubs:
Examining queer women’s
performances of sexual desire in
digital media
Stefanie Duguay, PhD Candidate @Dugstef
Professor Jean Burgess @jeanburgess
Professor Ben Light @doggyb
Digital Intimate Publics Symposium
19-20 November 2015
University of Queensland
Digital Media Research Centre
2. Let’s talk about sex
Focus:
• Images of sexual desire that shape the
digital intimate publics of same-sex
attracted women on social media
platforms
• What content is attached to same-sex
attracted women’s hashtags (e.g. #lesbian,
#gaygirl) on Instagram and Vine?
3. Technology-facilitated LGBTQ publics
• Early tech – phones, videotext,
Usenet
• Same-sex attracted men’s digital
publics
• Sex, relationships, and friendship
• What about women?
• BBS, chat rooms
Digital Media Research Centre
Image from Doug’sArtGallery.com
4. LGBTQ+ networked publics
• Networked public =
• networked tech
• imagined audiences
• platformization
• Imagined audiences &
communities
• Trans people’s vlogs;
• ‘Coming out’ videos;
• Tumblr’s asexual counterpublic
Digital Media Research Centre
5. Networked tech & Platformization
• Social Shaping of Technology
& Actor Network Theory
• Platform affordances and
constraints
• Shaped by politics and
economies
• Embedded and enrolled in
platform design, software,
and algorithms
Digital Media Research Centre
Image via Facebook
6. Digital Media Research Centre
Mediated performances of female
sexual desire
• Same-sex attracted women
as an intimate public -
addressing performances of
sexual desire to an imagined
audience?
• Radical feminism & gendered
power relations
• Contradictions of post-
feminism
• Queer possibilities
Image from Lost Girl via Bilerico
7. • Owned by Twitter
• 6.5 second videos
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8. • Owned by Facebook
• Photos & 15-second
video
• Emerging research:
• User content
• Platform features
• User interactions
with the platform
Digital Media Research Centre
9. Method I: Walkthrough
• Interdisciplinary (ANT, HCI,
political economy) and
vernacular step-by-step ‘how to’
procedures
(Burgess, Light & Duguay, 2015)
• User interface
• Functions and features
• Textual content and tone
• Aesthetics and symbolism
• Identifying mediators of
performances of sexual desire
Digital Media Research Centre
10. Method II: User-generated content analysis
1 Instagram Scraper
3 days of collection
22 diverse hashtags
20(ish) images per scrape
422 Instagram images
Digital Media Research Centre
0 automated Vine tools
3 widely-used hashtags
10 Vines collected per #
50 collected previously
80 Vines
Telling people about my day job?
Priceless!
+
11. a) Porn and sexual services
• Businesses
• Mainstream hashtags
• Male audience, heterosexy tropes
Digital Media Research Centre
Sexual desire on Instagram
#lesbian #les
#girlswholikegirls
12. Sexual desire on Instagram
b) Memes, animations
and popular media
• Mostly teen accounts
• Cross-posted from
Tumblr
• Addressed to fan and
youth audiences
Digital Media Research Centre
#lgbt #loveislove #hellagay #lesbiancouple
13. c) Images of idealised
lesbians
• Teenagers and
pseudonymous
accounts
• Lesbian stereotypes &
fashion
• Feminine, resembling
mainstream media
• Addressed to oneself?
Digital Media Research Centre
#lesbiancouple, #lesbianlove
Sexual desire on Instagram
Image from MTV
14. d) Personal selfies and sexy
photos
• Full spectrum of sexual
performance, from seductive
gaze to underwear shot
• Broader range of body types,
gender presentation, race,
and age
• Addressed to other women
Digital Media Research Centre
#lezzigram #inkedlesbians
#lipsticklesbian #dykesofinstagram
Sexual desire on Instagram
Image from Autostraddle
15. Sexual desire on Vine
• Fandom + popular media + idealised lesbians
Digital Media Research Centre
16. Sexual desire on Vine
• E.g. https://vine.co/v/iBPqMTEz9IV
• Gazing at the camera, lip syncing, and
dancing
• Produced by individual women;
• Focused on the camera;
• Rap and hip hop;
• Addressed to? Women and/or Vine
communities relating to platform
practices, musical taste, possibly race
and location
Digital Media Research Centre
Co-hashtags: #ttsquad,
#grindonme, #teamuntamed
Image from Glamour
17. Digital Media Research Centre
Mediators of sexual performances
• Instagram
• Filters, photoshopping, delayed
censorship
• Vine
• Music, content channels, rapidly
spreading trends
• Shared
• Captions, emojis, manipulation of
brightness and camera angles,
hashtags (but used differently across
platforms), 3rd party apps (collages,
frames, blurring)
Image from Vine
18. Digital Media Research Centre
So what?
• There are digital intimate publics of same-sex attracted women
performing sexual desire, but these occur within a varied visual
landscape including porn, memes, and media images
• Digital affordances evolve and shift in use across platforms
Next steps?
• Further analysis of visual content, trends, and context
• Interviews with content producers
19. Thanks!
Digital Media Research Centre
Stefanie Duguay, PhD Candidate
stefanie.duguay@qut.edu.au @Dugstef
Professor Jean Burgess
je.burgess@qut.edu.au @jeanburgess
Professor Ben Light
ben.light@qut.edu.au @doggyb
#bne #socialmedia #digitalmethods #UQ #publics
#LGBT #lesbians #bisexual #queergirls #les #dyke
#lipsticklesbian #lesbianfunhouse #inkedlesbians
#instagaygirls #boi #stud #RainbowGang
#LGBTCrew #tbt #followme #follow4follow #lols
20. References
Digital Media Research Centre
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Hinweis der Redaktion
Lesbian, gay, bisexual, trans and queer people have long used technology to find each other – from gay and lesbian hotlines in the 1970s to precusors to the Internet like Usenet and BBSes.
There’s a lot of research on gay men – early studies include Campbell’s research on gay men exchanging fantasies in IRC chatrooms, and their use of Yahoo! Discussion groups to arrange hookups. Research on gay men has continued to proliferate and now we know a lot about their use of contemporary websites, dating sites, and mobile media.
But the research about same-sex attracted women is comparably sparse. There are some older studies – one about women in a BBS who used ASCII symbols to flirt with each other, and later studies about women in chatrooms, talking about leaving their husbands or discussing the L word. But there’s just not much about queer women’s experience of the Internet these days.
There is, however, a growing body of research into LGBTQ people’s use of social media. This can form networked publics, defined by boyd as both “publics restructured by networked technology” and “imagined collectives” or what we’ve come to think of as “imagined audiences”. There are studies of LGBTQ people making coming out videos on YouTube, as well as trans people chronicling their transitions on YouTube – in both these scenarios, the YouTubers imagine their communities to be both other LGBTQ people, whom they seek to inspire, as well as heterosexual and cisgender people whose understandings of sex and gender they want to challenge. Bryce Renniger has also done a study of asexual people on Tumblr and he found that they post memes and statements challenging the mainstream conception that everyone needs to be sexual. They form a counterpublic by circulating these statements to an imagined audience of similar others and allies.
I argue that given contemporary social media, we should add to this that networked publics are very much shaped by the platforms through which they occur.
Boyd 2011;2014
(Helmond, 2015; Burgess & Banks, 2014; van Dijck, 2013)
(Anderson, 1983)
(Raun, 2014; Alexander & Losh, 2010; Renninger, 2014)
Looking at platforms from a Social Shaping of Technology perspective, it’s clear that both users and the technology shape the interactions we have. Drawing on Actor Network Theory, non-human objects within platforms, like buttons, display screens, etc, can influence what we do. This is because platforms have politics and economies, they have to worry about making money and their design can be influenced by dominant discourses. These politics get programmed and embedded in platform design, software and algorithms.
One recent example of this was Facebook’s launch of the Safety Check feature during the Paris attacks – the first time they decided to use it for anything but a natural disaster was when a Western, developed country was in crisis – (not in Beirut)
Influence of platforms largely ignored in studies of LGBTQ networked publics
(Abidin, 2014; Gehl, 2014; Gillespie, 2010; van Dijck, 2013)
(Bruns & Burgess, 2015; Light & McGrath, 2010; Duguay, in press)
(Chandler & Livingston, 2012; Buse, 2010)
Can shape visual artifacts
And so, studies of LGBTQ publics raises the question of what kind of publics of same-sex attracted women exist? Given that gay men often have very sexualized, hook-up based publics, what kinds of performances of sexual desire are queer women carrying out?
Well, this is question is complicated by historical debates over gender and sexuality. Radical feminism emerged in the 1970s and said that women’s sexualized media (porn and erotica) is too caught up in the male gaze that it could never be addressed to oneself or to other women for their pleasure. Post-feminism, as Amy will tell you, has declared a reclamation of women’s sexuality – stating that this business of feminism is done, so women can enjoy producing sexual media as an act of empowerment. However, most porn is still produced for men, especially most “lesbian porn”. Given that queer theory has pointed out how gender is a performance, there have been some efforts in lesbian and queer porn to defy these gender relations and produce porn that’s satisfying for women. BUT, yeah, it’s all mired in these complications.
Berlant – Intimate public - “A public is intimate when it foregrounds affective and emotional attachments located in fantasies of the common, the everyday, and a sense of ordinariness, a space where the social world is rich with anonymity and local recognitions, and where challenging and banal conditions of life take place in proximity to the attentions of power but also squarely in the radar of a recognition that can be provided by other humans” (p. 10)
Released in 2013.
Not a lot of research.
Content – Alice Marwick wrote a piece of Instagram microcelebrity
Platform features – Kohn’s paper on the filter and its effect on the mood of soldier’s photos
This study is a mix of both.
(Marwick, 2015 & Tiidenberg, 2015)
(Kohn, 2015)
(Abidin, 2014; Olszanowski, 2014)
Through ANT, it identifies mediators that “transform, translate, distort, and modify the meaning or the elements they are supposed to carry” (Latour, 2005, p. 39).
University of Amsterdam Instagram scraper
“Hot chat, kik me”
Heterosexy - in line with femininity and heteronormativity
(Dobson, 2015)
Cutsey, sometimes sensual. Anime.
Feminine with a small butch-femme dichotomy
Wanting to BE and HAVE what’s in the image?
post-feminist heterosexy?
Addressed to other women – posting relationship status, looking for responses, “no men”
Rap and hip hop with lyrics objectifying women – can see this as either perpetuating this objectification as the only way to express sexual desire for women OR as a queering of the lyrics …
Thirst trap communities – with Thirst trap being a practice designed to ‘trap’ or arouse individuals. Exists across both platforms with many heterosexual people participating, but women reproducing the practice for other women brings into play all those questions around gender and sexuality.
Filters make ideal lesbians look mystical; photoshopping can avoid censorship – small starts or hearts over nipples, delayed censorship is the only reason porn can be seen on instagram
Vine’s music is pivotal to these sexual performances – just added a feature allowing users to easily cut and splice songs on to videos
Shared – captions allow for more clearly addressing a public; emojis and acronyms help get the message across to certain target people who would also understand them
Varied visual landscape – could have implications for identity formation and finding community
# as signfier and amplifier on Instagram, whereas they’re used more sparingly on Vine maybe because of fewer users and because content gets grouped into channels.
Context = comments, captions, etc