Subjetividades instagramáveis: cartografias da autovigilância no Instagram

• Ano de defesa: 2021
• Autor(a) principal: Silva, Heriton Vinícios Serrão
• Orientador(a): Xavier, Monalisa Pontes
• Banca de defesa: Miranda, Luciana Lobo , Lima, Camila Calado
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• dARK ID: ark:/80033/00130000023zs
• Idioma: por
• Instituição de defesa: Universidade Federal do Piauí
• Programa de Pós-Graduação: Programa de Pós-Graduação em Comunicação -PPGCOM
• Departamento: Universidade Federal do Piauí
• País: Brasil
• Palavras-chave em Português: Autovigilância; Cartografia; Instagram; Produção de Subjetividades.; Autosurveillance; Cartographie; Production de subjectivités
• Palavras-chave em Inglês: Self-surveillance; Cartography; Instagram; Production of Subjectivities
• Palavras-chave em Espanhol: Autovigilancia; Cartografía; Instagram; Producción de Subjetividades.
• Área do conhecimento CNPq: Ciências Sociais Aplicadas
• Link de acesso: https://deposita.ibict.br/handle/deposita/441

The self-surveillance is configured as a way of subjectification manifested in virtual social networks. On Instagram I can see this in the status given by users to the recognition and admiration of the other's gaze, which are progressively internalized, constituting a whole field of practices with you, of self-integration and self-control that come to govern the intimate and private sphere, in which the spheres of care and self-control are made in public exposure within the reach of the other's gaze and the norm represented by him, norm which I call “Instagramable”. Faced with this, I ask: What are the relationships between self-surveillance on Instagram and the production of subjectivities in contemporary times? Thus, objective: "to map relationships between self-surveillance and the production of subjectivities on Instagram,". To this end, I intend to: a) discuss the production of subjectivities forged in the context of surveillance; b) analyze how self-surveillance occurs on social networks; c) understand the functioning of Instagram as a visibility / surveillance device; d) map self-surveillance in profiles of nanoinfluencers on Instagram. Therefore, was used as main references: Félix Guattari and Suely Rolnik (1996) and Luciana Miranda (2005; 2009) who discuss the production of subjectivities; Michel Foucault (2009; 1987) and his contributions about the discipline society; Gilles Deleuze (1992) and the writings of the controlling society; Zygmunt Bauman (2014) with his post-pan-optical perspective; Fernanda Bruno (2013), Pablo Rodrigues (2015), Paula Sibilia (2009; 2018) and Byung-Chul Han (2017) on the relationship between surveillance, subjectivities and contemporary; as well as other topics and interlocutors that may enable the enrichment of the discussion. The methodological path is made in the cartography (KASTRUP, 2007) of seven profiles of nanoinfluencers on Instagram, through a narrative in cartographic poetic diaries in the @poetavigia profile , that was created on Instagram for research. Cartographic narratives take place in a polyphony between the self and the research, but knowing that in the research there are living bodies, speakers, thinkers, agents ..., as well as a complex territory, contexts and diverse subjectivation games. Cartography, as research-intervention, produces knowledge to the extent that a territory is inhabited and a common plan is created, that is, it is not researched about, but with. Therefore, I also perceive myself as an actor on this journey, as an eighth profile being studied, in a very changeable and unstable territory, requiring back and forth. In the final results, among other things, I notice that self-vigilant subjectivities are configured as instagramáveis and the instagramável is composed of homogeneous, but also resistant, capitalistic production lines.