This page lists some of the key ideas and concepts I have developed in my body of research.

This page is under construction.


On Influencers & internet celebrity

Influencer: “everyday, ordinary internet users who accumulate a relatively large following on blogs and social media through the textual and visual narration of their personal lives and lifestyles, engage with their following in digital and physical spaces, and monetise their following by intergrating ‘advertorials’ into their blog or social media posts.” Read (2018)>> Read (2017)>> Read (2016)>> Read (2015)>>

Internet celebrity: “all media formats… that attain prominence and popularity native to the internet… mainly known for their high visibility, whether this be attributed to fame or infamy, positive or negative attention, talent or skill or otherwise, and whether it be sustained or transient, intentional or happenstance, monetized or not… must be received, watched, and acknowledged by an audience… [depends] on the platforms they use and the cultural ideologies and tastes of their intended audience.” Read (2018)>> Read (2018)>>

Advertorials: “pastiche of ‘advertisement’ and ‘editorial’… highly personalised, opinion-laden promotions of products/services that influencers personally experience and endorse for a fee.” Read (2015)>> On OOTDs>> On selfies>> On babies>>

Anchor content/Filler content: “Anchor material is the primary content for which these Influencers are known. Such performances appear to be produced with more care and effort, utilizing higher end equipment such as moving image recorders, audio mixers, lighting, and props, and are uploaded on a regular schedule a few times a fortnight. Some genres of this output include instrumental and singing covers, comedic skits, and cooking and craft tutorials. Filler material is the secondary content for which these Influencers are known and complement the mainstay of their output by giving followers a highly contextualized snapshot of their everyday lives. Such performances are intentionally framed to convey the aesthetic of an amateur, such that the production comes across as being raw, unfiltered, spontaneous, and more intimate.” Read (2017)>>

Blogshops: “online sites in which young women model and sell apparel via social media… [that] trades on commercial intimacies cultivated by blogshop models and the involvement of blogshop consumers… [where] the micro-mediated (co-)creation of value rests on persona intimacy.” Read (2016)>> Read (2013)>> Read (2012)>>

Calibrated amateurism: “a practice and aesthetic in which actors in an attention economy labor specifically over crafting contrived authenticity that portrays the raw aesthetic of an amateur, whether or not they really are amateurs by status or practice, by relying on the performance ecology of appropriate platforms, affordances, tools, cultural vernacular, and social capital.” Read (2017)>> Read (2017)>>

Eyewitness virality: “The proliferation of television news interviewees, many of whom are themselves victims of the unfortunate event being covered, who attain overnight but transient fame through the news networks who curate and disseminate their eyewitness accounts on social media as humour and clickbait.” Read (2018)>> Read (2016)>>

Perceived interconnectedness & Communicative intimacies (updated parasocial relations for digital age): “model of communication between influencers and followers… co-constructed by influencers and followers… in which influencers interact with followers to give the impression of intimacy… [as] commercial, interactive, reciprocal, disclosive”, “enacted and experienced by [followers] as a result of having followed [Influencers] closely over a long period, and having received continuous bite-sized updates about their daily affairs”, mediated via social media platforms. Read (2015)>> Read (2013)>>

Porous authenticity: Strategic self-presentation practice on digital spaces in which users “continuously alluding to their more secret, more genuine, more real ‘real lives'”, often enacted by Influencers who “aim to create a backstage region in which they can invite followers to assess how genuine they really are… [where] an audience is enticed into trying to evaluate and validate how genuine a persona is by following the feedback loop across the front stage of social media and the backstage of ‘real life’, through inconspicuous and scattered holes or gateways that were intentionally left as trails for the curious.” Read (2018)>>

Relatability: Framework of digital self-presentation comprising “accessibility (how easy it is to approach an influencer in digital and physical spaces), believability (how convincing an influencerʼs depicted lifestyle and sentiments are), authenticity (how genuine an influencerʼs actual lifestyle and sentiments are), emulatability (how easy followers can model themselves after an influencerʼs lifestyle), and intimacy (how familiar and close followers feel to an influencer).” Read (2017)>> Read (2015)>>

Subversive frivolity: “the under-visibilized and under-estimated generative power of an object or practice arising from its (populist) discursive framing as marginal, inconsequential, and unproductive.” Read (2016)>>

Tacit labour: “a collective practice of work that is understated and under-visibilized from being so thoroughly rehearsed that it appears as effortless and subconscious.” Read (2016)>>

Visibility labour: “the work enacted to flexibly demonstrate gradients of self-conspicuousness in digital or physical spaces depending on intention or circumstance for favourable ends… Visibility labour is the work individuals do when they self-posture and curate their selfpresentations so as to be noticeable and positively prominent among [various audiences]” Read (2016)>>

& Brand credibility: Read (2016)>> Read (2015)>> Read (2015)>>

& Children: See below.

& Cultural customs: East Asian elderly>> Thai women>> Turkish girls>>

& Cyber-bullying: Read (2019)>>

& Feminine corporeality/Female entrepreneurship: Read (2017)>>

& Grotesque: Read (2016)>>

& Industry structure: Read (2017)>>

& Instagram: Read (2016)>> Read (2016)>> Read (2014)>>

& Methodology: Read (2019)>> Read (2018)>> Read (2013)>>

& Privacy/Tensions/Stresses: Read (2014)>> Read (2013)>>

& Queer-baiting/LGBT: Read (2019)>> Read (2019)>>

& Romance/Coupling: See below.

& Sexuality education: Read (2017)>> Read (2016)>>

& Shame/Scandal: Read (2018)>> Read (2016)>>

& Shadow economies: Read (2018)>> Read (2018)>>

& Weaponizing: Read (2017)>>


On child internet celebrities/kid influencers

Exploitation: Read (2017)>>

Family influencers: Read (2017)>>

Micro-microcelebrity: “Babies and toddlers… [who] rise to fame by inheriting exposure and proximate microcelebrification from their social media Influencer mothers… [they] inherit celebrity through the preemptive and continuous exposure from their Influencer mothers, many beginning even during the pre-birth pregnancy stages in the form of ultrasound scans.” Read (2017)>> Read (2015)>>


On romantic relationships

Agentic cuteness & Influencer couples: Read (2016)>>

Monthsary: Read (2016)>>

Young coupling & Influencer couples: “the experiences of young people’s partnering practices in their teenage years and/or their initial experience of early partnering regardless of the age of first coupling, in which young couples do not yet have any formal status, are unable to experience domestic living together, and have limited opportunities to be alone and intimate.” Read (2016)>>


On grief

Digital grief etiquette: Read (2019)>>

Grief hypejacking: “the bandwagoning on high-visibility hashtags of public tributes where users wrestle to misappropriate highly public channels of collective grief for self-publicity.” Read (2019)>> Read (2017)>> Read (2016)>>

Public grieving: “[practice] in which users sincerely partake in a global expression, narrative, and dialogue of a grief event through the use of high-visibility trending hashtags or by partaking in highly visible networks of grief.” Read (2019)>>

Publicity grieving: “[practice] in which users opportunistically harness the attention currency of high-visibility trending hashtags or public tributes to promote their (self-)brand or wares.” Read (2019)>>


On East Asian internet cultures

Framing: Read (2018)>>

Meitu Xiuxiu: Read (2017)>>

Pen Pineapple Apple Pen: Read (2016)>>


On other internet cultures

Competitive onedownmanship & Self-deprecating relatability: Read (2018)>>

Emoji & Code-switching: Read (2018)>> Read (2017)>>

Finstagram: Read (2017)>>

Public shaming/Internet drama: Read (2017)>>

Selfies: On politicians>> On influencers>> On monetization>> On positionalities>>


On mixed race

East Asians in Australia: Read (2017)>>

Malay-Chinese in Singapore: Read (2014)>>


On Singaporean culture

Minah (subculture of lowbrow Malay feminine crassness): Read>>

Si Geena (brat): Read>>

STOMP: Read (2017)>>


This page is under construction.

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