As large-scale media visualizations from the Selfiecity database of images shot in five cities on four continents indicate, the selfie has become a truly transnational genre that is as much about placemaking as it is about the narrowcasting of particular faces and bodies. At the same time, the scholarly literature around this specific form of self-representation through closely distant mobile photography has struggled to keep up with theorizing emergent new media practices that utilize lenses, screens, mirrors, and armatures in novel ways and generate compositions with distinctive framing and posing that mark belonging to selfie taxonomies.
Imagine a brain in which the visceral sense of knowing is disconnected from centres for logical thought, yet stuck on a given idea. No matter what contrary evidence or line of reasoning is presented that the idea is wrong, that brain will continue to generate a feeling of rightness. We’re all familiar with this behaviour in its most extreme form – those intractable ‘know-it-alls’ entirely immune to contradictory ideas. We must at least consider the possibility that know-it-all behaviour is a problem of neural circuitry, much like dyslexia.