{"title":"instagram上的代理游客:一种(另一种)模仿的凝视","authors":"","doi":"10.3727/109830421x16296375579606","DOIUrl":null,"url":null,"abstract":"From influencers to established travel brands to casual consumers, there are a number of existing organisms in the online ecosystem of Instagram simultaneously producing and consuming content. At first glance, the nature of these relationships seems simple - sharing and engaging via a visual medium - but upon prolonged review, deeper questions about the interwoven complexity existing between these organisms and their content emerge. The authors illuminate several discernible patterns through a deep theoretical framing of the gaze, mimetic reproduction and ownership followed by a conceptual modelling through a review of everyday Instagramic practices. What becomes apparent are a number of stages of development in this process. Firstly, the practice of photographic mimicry becomes a form of consumption in which the consumer ‘consumes places’ vicariously across space and time, making image reproduction an embodied practice. Secondly, the Instagram fee of an individual consumer (or influencer) becomes a sort of living autobiography, curating and aggrandizing the glossiest images which form a projected extension of self that is not grounded necessarily in authenticity, but in reproduction. Finally, the proliferation of communication between consumer and consumer reproduces a surrogate type that creates a constantly evolving circular content loop where the flow of influence and information becomes muddled and originality becomes less distinguishable. This paper critically explores how Instagram has collapsed traditional influence and consumer relationships particularly in how tourist experience and imagery are shared, resulting in a complex online community that resembles a cultural colonial organism fed by communication feedback loops. The result of this paper is the positioning of a surrogate tourist embodied within a collection of individual entities performing specialized tasks dependent on other individuals in the community in which the function and nature of the individual recedes in importance to the relationship existing between organisms.","PeriodicalId":41836,"journal":{"name":"TOURISM CULTURE & COMMUNICATION","volume":"43 1","pages":""},"PeriodicalIF":0.5000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"SURROGATE TOURISTS ON INSTAGRAM: AN(OTHER) KIND OF MIMETIC GAZE\",\"authors\":\"\",\"doi\":\"10.3727/109830421x16296375579606\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"From influencers to established travel brands to casual consumers, there are a number of existing organisms in the online ecosystem of Instagram simultaneously producing and consuming content. At first glance, the nature of these relationships seems simple - sharing and engaging via a visual medium - but upon prolonged review, deeper questions about the interwoven complexity existing between these organisms and their content emerge. The authors illuminate several discernible patterns through a deep theoretical framing of the gaze, mimetic reproduction and ownership followed by a conceptual modelling through a review of everyday Instagramic practices. What becomes apparent are a number of stages of development in this process. Firstly, the practice of photographic mimicry becomes a form of consumption in which the consumer ‘consumes places’ vicariously across space and time, making image reproduction an embodied practice. Secondly, the Instagram fee of an individual consumer (or influencer) becomes a sort of living autobiography, curating and aggrandizing the glossiest images which form a projected extension of self that is not grounded necessarily in authenticity, but in reproduction. Finally, the proliferation of communication between consumer and consumer reproduces a surrogate type that creates a constantly evolving circular content loop where the flow of influence and information becomes muddled and originality becomes less distinguishable. This paper critically explores how Instagram has collapsed traditional influence and consumer relationships particularly in how tourist experience and imagery are shared, resulting in a complex online community that resembles a cultural colonial organism fed by communication feedback loops. The result of this paper is the positioning of a surrogate tourist embodied within a collection of individual entities performing specialized tasks dependent on other individuals in the community in which the function and nature of the individual recedes in importance to the relationship existing between organisms.\",\"PeriodicalId\":41836,\"journal\":{\"name\":\"TOURISM CULTURE & COMMUNICATION\",\"volume\":\"43 1\",\"pages\":\"\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2021-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TOURISM CULTURE & COMMUNICATION\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3727/109830421x16296375579606\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"HOSPITALITY, LEISURE, SPORT & TOURISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TOURISM CULTURE & COMMUNICATION","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3727/109830421x16296375579606","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"HOSPITALITY, LEISURE, SPORT & TOURISM","Score":null,"Total":0}
SURROGATE TOURISTS ON INSTAGRAM: AN(OTHER) KIND OF MIMETIC GAZE
From influencers to established travel brands to casual consumers, there are a number of existing organisms in the online ecosystem of Instagram simultaneously producing and consuming content. At first glance, the nature of these relationships seems simple - sharing and engaging via a visual medium - but upon prolonged review, deeper questions about the interwoven complexity existing between these organisms and their content emerge. The authors illuminate several discernible patterns through a deep theoretical framing of the gaze, mimetic reproduction and ownership followed by a conceptual modelling through a review of everyday Instagramic practices. What becomes apparent are a number of stages of development in this process. Firstly, the practice of photographic mimicry becomes a form of consumption in which the consumer ‘consumes places’ vicariously across space and time, making image reproduction an embodied practice. Secondly, the Instagram fee of an individual consumer (or influencer) becomes a sort of living autobiography, curating and aggrandizing the glossiest images which form a projected extension of self that is not grounded necessarily in authenticity, but in reproduction. Finally, the proliferation of communication between consumer and consumer reproduces a surrogate type that creates a constantly evolving circular content loop where the flow of influence and information becomes muddled and originality becomes less distinguishable. This paper critically explores how Instagram has collapsed traditional influence and consumer relationships particularly in how tourist experience and imagery are shared, resulting in a complex online community that resembles a cultural colonial organism fed by communication feedback loops. The result of this paper is the positioning of a surrogate tourist embodied within a collection of individual entities performing specialized tasks dependent on other individuals in the community in which the function and nature of the individual recedes in importance to the relationship existing between organisms.
期刊介绍:
Tourism, Culture & Communication is the longest established international refereed journal that is dedicated to the cultural dimensions of tourism. The editors adopt a purposefully broad scope that welcomes readers and contributors from diverse disciplines and who are receptive in a wide variety of research methods. While potential cultural issues and identities are unlimited, there is a requirement that their consideration should relate to the tourism and hospitality domain. Tourism, Culture & Communication provides readers with multidisciplinary perspectives that consider topics and fields extending beyond national and indigenous cultures as they are traditionally understood and recognized. Coverage may extend to issues such as cultural dimensions of the United Nations’ Sustainable Development Goals (SDGs), gender and tourism, managing tourists with disabilities, sport tourism, or age-specific tourism. Contributions that draw upon the communications literature to explain the tourism phenomenon are also particularly welcome. Beyond the focus on culture and communications, the editors recognize the important interrelationships with economies, society, politics, and the environment. The journal publishes high-quality research and applies a double-blind refereeing process. Tourism, Culture & Communication consists of main articles, major thematic reviews, position papers on theory and practice, and substantive case studies. A reports section covers specific initiatives and projects, “hot topics,” work-in-progress, and critical reviews.