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Title: Dinâmicas de autoapresentação em sites de redes sociais: performance, autorreflexividade e sociabilidade em cenas de música eletrônica
Other Titles: Dynamics of self-presentation in social networking sites: performance, self-reflexivity and sociality in music scenes electronics
Keywords: Internet;  Música Eletrônica;  Rede Social On-line;  Expressão de Si Mesmo;  Internet, Electronic Music, Social Network Online;  Expression of Self
Issue Date: 17-Dec-2012
Abstract: Taking the social network sites as places for the self-presentation of social actors in daily life, this work aims to understand how actors from the e-music scenes of São Paulo and Rio de Janeiro self-present themselves on Facebook. This target was justified by, among other aspects, the intense uses of the website by actors from these scenes, being a social group which can be considered early adopter of Facebook in Brazil. We sought to question the arguments of a handful of authors who defend that social network sites had caused or highly potencialized the super-exhibition of individuals and their intimacies in contemporary days, allied to an incessant and indiscriminated search for visibility. We departure from three theoretical premisses that allow us to understand the ways how social actors self-present themselves in social network sites: 1) Anthony Giddens` concept of reflexive modernization; 2) the understanding of consumption as identity producer and 3) the perspectives of Erving Goffman and the symbolic interationists on self-presentation as a co-construction with others . The methodological approach was mostly based on etnography, by means of the realization of five in-depth and semi-structured interviews with social actors from the e-music scenes here investigated and the participant observation of their profiles on Facebook. We also applied an online questionnaire with open and closed questions via Facebook. We concluded that the processes of self-presentation of these social actors on Facebook are related to the performatization of certain aspects of their identities for specific imagined audiences, having them carefully manage the impressions they want to create for their connections, trying to keep or, the opposite, break a supposed expressive coherence between their off-line selves and their selves on Faceook and restoring new regimes of visibility in contemporary days
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