Den här studien undersöker hur mikrokändisar presenterar sig själva på Instagram och vilka strategier för hur dessa mikrokändisar använder Instagram som är synliga. Studien analyserar bilder som publicerats av fyra svenska mikrokändisar under en månads tid. Netnografi används som insamlingsmetod och materialet analyseras med hjälp av en semiotisk text- och bildanalys. Teorier om självpresentation och attention economy används för att skapa en förståelse för hur de analyserade mikrokändisarna använder Instagram. Studien finner att mikrokändisarna presenterar sig själva som lyxiga och glamorösa. Strategier som de använder inkluderar att publicera bilder vid specifika tidpunkter, publicera bilder som ger ett intryck av att någon annan tagit bilden när de inte är medvetna om att bilden tas och tagga personer, platser, varumärken och inspirationskonton för att bli sedda av fler.

Accroading to the rapid development of broadband network technology, the Internet video sharing platform YouTube has a number of amateur performers sharing their own shot creative video in order to attract the attention of the audience and the mass media. The study based on famous online amateur performers the spectacle / performance paradigm behavior to discuss the relationship in panopticon surroundings. Also the perspective of Attention Economy explain the amateur performers how to attract user¡¦s attention and maintain the relationship and the labor relationship between manufactures when they have opportunity with them. The study use Virtual Ethnography to watch and participate YouTube of amateurs and depth interviews to understand the motivation of amateurs. Accroading to the result of study, the amateur desire been watching from others, the relationship on the Internet reverse the power. At the beginning, the amateur create video by their self-awareness and enjoy others watching. When they become famous , the user¡¦s watching and beloved restrict creative of the amateur. Based on the continued, the culture of the labor process with manufactures was different form the traditional, the users opinion is more important than manufactures.

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Since the invention of the World Wide Web in 1990 and the commercialization of the internet, numerous scholars and cultural critics have interrogated the cultural and economic role of attention, as both a psychobiological ability and a psychosocial good. In particular, commentators from many disciplines posit contested theories of an attention economy, a socioeconomic regime in which, since information and communications technologies make information abundant, the attention needed to acquire information becomes the world's most scarce economic resource. This dissertation argues that a parallel body of postmodernist narratives has emerged from the same conditions, in which technologies of attention enmesh individuals in illegible systems of production, consumption, surveillance, and thought management. Intensified strategies for focusing individual and collective attention are essential components of these narratives, and thus attention, as a means and an end, plays a central role in dramatic tensions between power and resistance. At a time of increased concern for what happens to the long narrative in the age of the text and tweet, my analyses of the film The Truman Show (Peter Weir, 1998), novels Glamorama (Bret Easton Ellis, 1998) and Dead Stars (Bruce Wagner, 2012), and graphic novel series Transmetropolitan (Warren Ellis and Darick Robertson, 1998-2003), explore both continuities and disjunctions in how different media represent this narrative, since diverse institutional codes dictate conditions of production and reception. Despite the different physiological, technological, temporal, and spatial demands these texts place upon their readers' attention, in the main they share an emblematic suspicion of attention's relationship to the governing institutions of American life, which ask subjects to attend to their bodies, minds, schedules and life objectives according to a digitized ideology of perpetual labor, consumerism, and efficiency. This dissertation also intervenes in debates about the value of close textual analysis, arguing that paying attention to narrative forms and themes forces readers to pay attention to the act of paying attention, increasingly important at a time when large institutions find new ways to monetize attention as a form of unpaid labor.

China in the new millennium has witnessed the surge of the digital wave, which has played a pivotal role in reshaping the social and cultural landscapes. This dissertation employs institutional and content analysis to link the ascendance of Internet culture with the state-led marketization, commercialization, and modernization project. By systematically examining blog and Bulletin Board Systems (BBSs), two of the most dynamic online spaces in China, it brings to the fore the intertwining official, commercial, individual, and social forces conducive to the vitality, ingenuity, and diversity of Internet culture in China. The main body of this dissertation is divided into four chapters. Chapter one describes the developmental history of the Internet and blogging industry in China, and discusses how the rule of the attention economy dominates the industrial practice of commercial Internet portals. By taking Sina.com as a primary case study, this chapter elucidates how the strategic structuring of attention is paramount for Sina.com’s success in promoting celebrity blogs. In turn, celebrity blogging has fundamentally changed the social and cultural landscape of China. The following three chapters delineate three prominent cultural modes digital media have fostered: fun-seeking, trailblazing, and taboo-breaking. Each formulation epitomizes how a particular style of attention rule is implemented in online space. Chapter two investigates how the playful collective attention projected on an alternative media type fosters the birth of China’s first Internet celebrity: Furong Jiejie (Sister Lotus). Chapter three explores how the “attention-haves,” represented by such celebrities as Yang Lan and Xu Jinglei, innovatively capitalize on the attention rule and engage in new modes of cultural production via new media. In chapter four, I use blogs of Mu Zimei and Han Han as examples, and detail how their taboo-breaking practices disrupt preset parameters of social, cultural, and political norms. I contend their particular style of blogging greatly contributes to catching public attention and engaging in contentious issues, which further fosters the emergence of a literal public sphere in contemporary China. / text

Syftet med denna studie har varit att ge ett tillskott till forskningsområdet gällande digitalt sexarbete i form av en kvalitativ intervjustudie av kvinnliga kreatörers upplevelser på plattformen OnlyFans. Vi har belyst att plattformen utmärker sig i ledetav nya gig-ekonomiska företag som agerar mellanhand för köpandet och säljandetav kommersiella sexuella tjänster. Fenomenet har spridits genom sociala medieroch lockat många att träda in i dess värld, särskilt under COVID-19 pandeminsosäkra tillvaro. Vi har undersökt fenomenet med hjälp av två feministiska ramverk;radikalfeminismen och liberalfeminismen som har hjälpt oss att svara på vilkaaspekter som är exploaterande eller självstärkande. Dessutom har vi redogjort förhur informanterna använder sammanlänkande arbete och rollspel i sitt arbete,samt att pengar och resonans är stora motivationsfaktorer. Resultatet har visat attkvinnorna upplever ett sammanhängande spektrum av erfarenheter och formas avkomplexa strukturella förutsättningar vilket bäst fångas av Weitzers (2010; 2012) “polymorphous paradigm”.

The creator economy is a growing phenomenon in business, entrepreneurship and the global economy. This thesis seeks to explore the identity of content creators and the format of creator accelerator programs to help understand the growing phenomenon of the creator economy. In comparing the two ecosystems of content creators and entrepreneurs we can begin to understand the effects and implications. The thesis also aims to understand the similarities between upcoming content creator accelerator programs and mature startup accelerator programs. Through qualitative methods, primary sources are collected to compare content creators to entrepreneurs and creator accelerator programs to startup accelerator programs. By reviewing one hundred eighty-two (182) content creators and four hundred and three (403) entrepreneurs, the results are divided into three categories; the top roles identified, the number of times the role appeared in the group, and the percentage of roles based on the total number of people. The primary difference between content creators and entrepreneurs is content creators focus on the content produced, whereas the entrepreneur focuses on the organization, product or services. In exploring similarities between the two types of accelerator programs four categories emerge in organizing the program information: length of the program, goals, mentorship or networking opportunities, and funding. This paves the way in understanding the growing creator economy phenomenon by finding overlap amongst content creators and traditional entrepreneurs alongside accelerator programs.

Many individuals in late modern society share experiences of an accelerating pace of life, time scarcity, and a pressure to keep up with the fast pace of change as well as a necessity to stay digitally connected. As a reaction to this, some individuals engage in attempts to disconnect from the online world and their digital devices as they seek to regain control and slow down the pace in life. This study examines deliberate disconnection through the experiences of individuals who engage in digital minimalism, referring to intentional, voluntary practices of paring back on technology in a long-term perspective. The purpose of the study was to explore challenges and benefits, and more specifically, to identify underlying motives and strategies for adopting digital minimalist practices. Analysing the above process, the thesis investigates also how these practices were negotiated over time and in what way motives were related to conscious counteraction of the overwhelming paste of contemporary life. The analysis was focused on the use of smartphones in everyday life. Qualitative semi-structured interviews were conducted with seven individuals adopting digital minimalist practices. The empirical data was analysed using concepts from Hartmut Rosa’s theory of social acceleration. The results from the study pointed out that digital minimalist practice was motivated in a strive to either reclaim or preserve control and rhythm. In line with this, motives were based in a strive to counteract unintentional actions, and therefore strategies mainly concerned attempts to increase the threshold to engage with the smartphone. Experience was marked by benefits of reclaiming control over time which fostered well-being, increased attention to social relations in real life and confidence, but also marked by challenges and ambivalence as the individuals struggled maintaining their strategies. Engaging in digital minimalism fostered those strategies and beliefs to be (re)negotiated as certain circumstances and shifts in life fostered digital availability to a higher degree.

Social Networking Sites have taken the world by storm with an aggressively growing market. People are spending more and more time with ever more alluring algorithms to keep a high interest for increased profit margins and revenue. However, this brings forth societal issues regarding attention span. Herbert. A. Simons (1971) theorized that as people gain information, it is in exchange for attention in an attention economy.With these uprising issues, we set out to discover if there were ways to alleviate the attention required to understand the content. In design, minimalism as a design concept helps to solve these issues by communicating as effectively as possible and skipping "the small talk." Further, the massive growth SNS has experienced in the 2010s leaves a market opportunity to streamline advertisements to communicate with its audience more effectively.The research set out to answer two questions: “How do end-users perceive minimalistic design principles to affect memorability in SNS advertisements?” and “How do end-users perceive minimalistic design principles to affect the attention required to understand an advertisement on SNSs?” We constructed interviews based on previous research and conducted eight interviews. The interviews were then thematically analyzed, where four significant themes occurred. "Positive Perception of Attention Required", "Positive Perception of Effects on Memorability", "Influential Individual Content Creators" and “Effects on Minimalism by Context”. The findings revealed a positive perception of how minimalistic design principles affected the attention required to understand the content. Likewise, it was found that people had similar perceptions of the effects on memorability. Further, it was revealed that a majority believe individual content creators can alleviate societal issues regarding attention.