The Age of Appearances and Performative Identity Curation

Identity Curation

The research examines an understudied facet of digital inequality: how digital inequality impacts identity work and emotion management. The analysis reveals how unequal access to digital resources shapes how well youths are able to play what I call the identity curation game. Digital resources determine youths’ ability to succeed in this game that is governed by three implicit rules:

(1) constantly update or be sidelined, 

(2) engage in constant reciprocated identity-affirming interactions, and 

(3) maintain a strategy of vigilance to remove traces of failed identity performances.

This article draws on Symbolic Interactionism and pays particular attention to Hochschild’s theory of emotion management. Drawing on these frameworks, the findings reveal how under-resourced youths experience connectivity gaps that disrupt their ability to play the identity curation game, as well as the resulting emotional consequences. Under-resourced youths manage distinctive negative emotions arising from connectivity gaps that hinder their digital identity work, as well as engaging in distinct kinds of suppressive work to police their own emotions including longing, envy, shame, frustration, and stigmatization. In making these linkages, the research reveals the cascading effects of digital inequality among youths where constant connectivity is the sine qua non of social inclusion.

Identity Performance

Identity performance is a concept that holds that "identity" can be a project or a conscious effort or action taken to present oneself in social interactions. This is based on the definition of identity as an ongoing process of self-definition and the definitions of the self by others, which emerge out of interaction with others. The idea is that there are identities that are performed to achieve several objectives such as assimilation and acculturation, among others. It draws from the Erving Goffman's theatrical metaphor theory where, in social situations, the others perform the role of the audience, which an individual must perform to impress.

Concept

In everyday interactions, the body serves as a critical site of identity performance. In conveying who we are to other people, we use our bodies to project information about ourselves. This is done through movement, clothes, speech, and facial expressions. What we put forward is our best effort at what we want to say about who we are. Yet while we intend to convey one impression, our performance is not always interpreted as we might expect. Through learning to make sense of others’ responses to our behavior, we can assess how well we have conveyed what we intended. We can then alter our performance accordingly. This process of performance, interpretation, and adjustment is what Goffman calls impression management. Impression management is a part of a larger process where people seek to define a situation through their behavior. People seek to define social situations by using contextual cues from the environment around them. Social norms emerge from situational definitions, as people learn to read cues from the environment and the people present to understand what is appropriate behavior.

Learning how to manage impressions is a critical social skill that is honed through experience. Over time, we learn how to make meaning out of a situation, others’ reactions, and what we are projecting of ourselves. As children, we learn that actions on our part prompt reactions by adults; as we grow older, we learn to interpret these reactions and adjust our behavior. Diverse social environments help people develop these skills because they force individuals to re-evaluate the signals they take for granted.

The process of learning to read social cues and react accordingly is core to being socialized into a society. While the process itself begins at home for young children, it is critical for young people to engage in broader social settings to develop these skills. Of course, how children are taught about situations and impression management varies greatly by culture, but these processes are regularly seen as part of coming of age. While no one is ever a true master of impression management, the teenage years are ripe with experiences to develop these skills.

In mediated environments, bodies are not immediately visible and the skills people need to interpret situations and manage impressions are different. As Jenny Sundén argues, people must learn to write themselves into being. Doing so makes visible how much we take the body for granted. While text, images, audio, and video all provide valuable means for developing a virtual presence, the act of articulation differs from how we convey meaningful information through our bodies. This process also makes explicit the self-reflexivity that Giddens argues is necessary for identity formation, but the choices individuals make in crafting a digital body highlight the self-monitoring that Foucault so sinisterly notes.

In some sense, people have more control online – they are able to carefully choose what information to put forward, thereby eliminating visceral reactions that might have seeped out in everyday communication. At the same time, these digital bodies are fundamentally coarser, making it far easier to misinterpret what someone is expressing. Furthermore, as Amy Bruckman shows, key information about a person’s body is often present online, even when that person is trying to act deceptively; for example, people are relatively good at detecting when someone is a man even when they profess to be a woman online. Yet because mediated environments present reveal different signals, the mechanisms of deception differ.

Examples

There are studies that reveal specific cases of identity performance. These include the investigation on the experiences of Latino students in the American public education system. It was found that within culturally coded classrooms, members of this ethnic group have to perform identity in the form of behavioral signal that they are as worthy of achievement as their white peers. This also underscored that the white identity serves as the standard and that the performances often emulated it so that they form part of the how individuals from different ethnic groups assimilate. The "public performances" enacted by black females such as the assumption of the role of the "black vixen" are also cases in point. Researchers cite that roles are performed to reenact, reimagine and even revise personal and collective history.

William Shakespeare, "Richard II (Act III Sc II)"

Let’s talk of graves, of worms, and epitaphs,
Make dust our paper, and with rainy eyes
Write sorrow on the bosom of the earth.
Let’s choose executors and talk of wills.
And yet not so, for what can we bequeath
Save our deposèd bodies to the ground?
Our lands, our lives, and all are Bolingbroke’s,
And nothing can we call our own but death
And that small model of the barren earth
Which serves as paste and cover to our bones.
For God’s sake, let us sit upon the ground
And tell sad stories of the death of kings—
How some have been deposed, some slain in war,
Some haunted by the ghosts they have deposed,
Some poisoned by their wives, some sleeping killed,
All murdered. For within the hollow crown
That rounds the mortal temples of a king
Keeps Death his court, and there the antic sits,
Scoffing his state and grinning at his pomp,
Allowing him a breath, a little scene,
To monarchize, be feared, and kill with looks,
Infusing him with self and vain conceit,
As if this flesh which walls about our life
Were brass impregnable; and humored thus,
Comes at the last and with a little pin
Bores through his castle wall, and farewell, king!
Cover your heads, and mock not flesh and blood
With solemn reverence. Throw away respect,
Tradition, form, and ceremonious duty,
For you have but mistook me all this while.
I live with bread like you, feel want,
Taste grief, need friends. Subjected thus,
How can you say to me I am a king?

William Shakespeare, "As You Like It" (Act II Sc vii)

All the world's a stage,
And all the men and women merely Players;
They have their exits and their entrances,
And one man in his time plays many parts,
His Acts being seven ages. At first, the infant,
Mewling and puking in the nurse's arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.