This article seeks to amplify discursive constructions of social connection through technology with an examination of the proposed and presumed intimacies of the Tinder app. In the first half, we ethnographically examine the sociotechnical dynamics of how users navigate the app and take up or resist the subject positions encouraged by the user interface feature of swiping. In the second half, we provide a discussion of the implications of the swipe logic through post-structural conceptual lenses interrogating the ironic disruption of intimacy of Tinder's interface.

This essay describes the development of digital storytelling as a popular multimedia work and how the authors have applied it in the university classroom. As a pedagogical tool, digital storytelling offers a unique learning experience for students. The authors explore student discourse about the learning and situate this experience within a framework of implicated scholarship, an ongoing engagement between the academy and society. Implicated scholarship is developed in the methodology and practice of the French visual ethnographer Jean Rouch and has a deep historical lineage running through Canadian applied anthropology. Digital storytelling in an implicated vein protects and illuminates social complexity.

Filtered faces are some of the most heavily engaged photos on social media. The vast majority of literature on selfies have focused on self-reported practices of creating and posting selfies and how subjects view themselves, but research on using filters and the kinds of looking filter provoke is underexplored. Part of a larger project, this analysis draws from a study using photo-elicitation techniques to discuss selfie filters with 12 focus groups, exploring the dominant discourses of cis-gendered looking within digital sociality. We explore how participants edit their selfies, imagine potential audiences, interact with, and perceive the filtering behaviors of others, asking what the “work” of filters is, visually and socially. We probe the kinds of discourses filters participate in, and their gendered and affective dimensions. Our focus groups indicate that when looking at the selfies of others there is often an a priori assumption that filtering has been applied, whether conspicuously or not, to the extent that visual tune-ups have become central to the genre itself. As such, we explore the ambivalence and anxiety about authenticity that filters produce, as well as the intense looking practices aimed at decoding the legitimacy of images. We posit that filters are part of a digital ecosystem that demands an intensification of looking practices, which produce and enhance specific forms of objectification directed toward selves and others within digital environments.

With this special issue, we aim to address visibility not just as a representation of the social, but as an aspect and element of social and cultural orders and actions sui generis. The texts in this volume are dedicated to understanding the practices, power relations and the technological infrastructures in which (audio)-visual practices unfold. To make our proposition clear, we lay out a methodological strategy that we—drawing from French, German and Anglo-Saxon debate—call sociology with the image. Then we provide an overview of the articles in this special issue and point to some ongoing tensions within qualitative inquiry more broadly.

This introduction to the special issue entitled Me-diated Inter-faces begins by bringing into question the concept of positioning: what is it that we are doing when we take a position within the study of social media? Reviewing the work of the inaugural manifestos of the journal Social Media + Society on one hand, and the introduction to the special issue on selfies for the International Journal of Communications on the other, this introduction provides both critical and creative in-roads for thinking and re-thinking digital self-images shared on social media. Given the constantly changing nature of social media, this paper is a call to researchers of social media to not fall prey to the ossification of our current positions since theorizing the “social” in social media means always at once theorizing the body. As such this intro offers numerous and diverse perspectives on the body that might inform emerging thoughts on the socially media body. The introduction then provides an overview of the papers in this special issue and concludes by offering openings and ruptures for further discussion, rather than closure of conclusions.