Presentation given on Friday, November 9, 2012 at the annual North American Society for the Sociology of Sport (NASSS) conference, in New Orleans, Louisiana.

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Naila Jinnah!
Queen’s University
NASSS 2012

2. “As audiences move from predominantly passive
spectators to publicly interactive contributors
through tools like Twitter, sport consumption has
become a “key source of personal identity – both
material and symbolic, that is it meets needs
and it expresses a person’s place in the world.”
(Horne, 2006, p. 71)
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NASSS 2012

3. * Social media + identity
* Digital fandom
* Telecopresence (Shanyang Zhao)
* The “other” within
* The digital audience
* Representation (Stuart Hall)
* Performance (Ervin Goffman)
* The “real” world
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NASSS 2012

4. * Selectivity in self-presentation
* Authenticity in self-presentation
* Digital cues for self-presentation
* Feedback on self-presentation
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NASSS 2012

5. * Framing the digital “first impression”
* Fandom as content
* Gaps in visualization process due to lack of
physical markers in digital interaction
* Partially filled through assumptions made
based on publicly available digital content
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NASSS 2012

6. * “This disembodied state allows people in
different geographical locations to
communicate in real time through
electronic mediation in a corporeal
interaction format; the people interacting
are present in person at their local sites
but connected by an electronic proximity
rather than a physical proximity.”
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NASSS 2012

7. * Post-modern assemblage:
“The self constructed via prosthesis (keyboard, mouse)
using reproductive technologies (digital camera, voice)
is a unique production only loosely associated with
something like a “real” referent. Ultimately, it relates
within the ontological space of other selves in the same
plane – even to the manifestations of the same self
under erasure but still existing as a glossy mirage or
echo, an earlier self.”
(Barnett, 2009)
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NASSS 2012

8. * Crisis of representation
* Artificial self
* Digital confessionals
* Dual audiences
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NASSS 2012

9. * Twitter as a mode of representation
* Identity enactment as performance
* “It is the transmission of meanings through
performance (enactment) that actually
constructs these meanings and identities.”
* Repetition of performative acts of fandom
contributes to sports fandom discourse
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NASSS 2012

10. * Social interactions: “dramaturgical performances
shaped by environment and audience, aimed at
creating specific impressions according to the
desired purpose of the actor.” (Bounegru, 2008)
* Twitter performance:
* Deliberate expressions in order to contribute to a
certain image others may have of that tweeter
* Seemingly unintentional expressions which provide
cues to determine what kind of person tweeters are
“behind” their mediated self
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NASSS 2012

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NASSS 2012

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Contact me: njinnah@gmail.com
@NailaJ
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NASSS 2012