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What selfies really tell us about ourselves

Psychologists, technologists and behavioral economists differ in their interpretations of the selfie and the risks people are prepared to take socially and physically to snap them. But there is general agreement that selfies are a form of expression that may reveal more than the taker intended, no matter how flattering the filter used.

“We are so bombarded by media telling us how we should look and how we should be,” stated Jacquelyn Morie, a researcher at the University of Southern California. “With selfies you have this authority and autonomy that you don’t have in other parts of your life.” She said selfies are essentially avatars and foresees a day when they will be constructed even more to our liking. As we conduct moreof our life online she suspects they will become more how we see ourselves than our real selves. Of course, selfies can also create a historical record of our life, if maybe a little better than reality. They show the world what you are doing and who you are with and how incredibly fun it all is. You often hear the refrain, “Selfies or you don’t exist,” which may explain some people’s compulsion to document their actions even if doing so diminishes their experience and engagement in the real world.

The need to be recognised, or even adored, is perhaps why so many have become their own Hollywood directors, attaching cameras to sticks and sometimes drones to improve the production value of their lives. Recent selfie-stick bans have been interpreted by some who study the selfie phenomenon as more a cultural movement in favour of authenticity than the elimination of a possible safety threat. There’s also the argument that rather than conferring power, selfies transfer control to viewers because in the end they are the ones who decide whether to post an encouraging or insulting comment, press “like” or ignore your existence all together.

Moreover, as facial recognition software continues to improve, frequent selfie takers may also be giving away their very identity. The more you post pictures of yourself online, the better companies, government agencies and criminals can identify you, not only online but sitting in a restaurant or walking down the street.

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There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

People often use short forms to answer questions in English. Read the following questions:

I - Can you come tomorrow?

II - Is it going to rain today?

III - Have you finished your dinner?

IV - Are you sick?

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There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

“I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

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What is domestic violence and abuse?

When people think of domestic abuse, they often focus on domestic violence. But domestic abuse occurs whenever one person in an intimate relationship or marriage tries to dominate and control the other person. Domestic violence and abuse are used for one purpose and one purpose only: to gain and maintain total control over you. An abuser doesn’t “play fair.” Abusers use fear, guilt, shame, and intimidation to wear you down and keep you under their thumb. Your abuser may also threaten you, hurt you, or hurt those around you.

Domestic violence and abuse do not discriminate. Abuse happens among heterosexual couples and in same-sex partnerships. It occurs within all age ranges, ethnic backgrounds, and economic levels. And while women are more commonly victimized, men are also abused – especially verbally and emotionally. The bottom line is that abusive behavior is never acceptable, whether it’s coming from a man, a woman, a teenager, or an older adult.

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What selfies really tell us about ourselves

Psychologists, technologists and behavioral economists differ in their interpretations of the selfie and the risks people are prepared to take socially and physically to snap them. But there is general agreement that selfies are a form of expression that may reveal more than the taker intended, no matter how flattering the filter used.

“We are so bombarded by media telling us how we should look and how we should be,” stated Jacquelyn Morie, a researcher at the University of Southern California. “With selfies you have this authority and autonomy that you don’t have in other parts of your life.” She said selfies are essentially avatars and foresees a day when they will be constructed even more to our liking. As we conduct moreof our life online she suspects they will become more how we see ourselves than our real selves. Of course, selfies can also create a historical record of our life, if maybe a little better than reality. They show the world what you are doing and who you are with and how incredibly fun it all is. You often hear the refrain, “Selfies or you don’t exist,” which may explain some people’s compulsion to document their actions even if doing so diminishes their experience and engagement in the real world.

The need to be recognised, or even adored, is perhaps why so many have become their own Hollywood directors, attaching cameras to sticks and sometimes drones to improve the production value of their lives. Recent selfie-stick bans have been interpreted by some who study the selfie phenomenon as more a cultural movement in favour of authenticity than the elimination of a possible safety threat. There’s also the argument that rather than conferring power, selfies transfer control to viewers because in the end they are the ones who decide whether to post an encouraging or insulting comment, press “like” or ignore your existence all together.

Moreover, as facial recognition software continues to improve, frequent selfie takers may also be giving away their very identity. The more you post pictures of yourself online, the better companies, government agencies and criminals can identify you, not only online but sitting in a restaurant or walking down the street.

READ THE FOLLOWING TEXT AND CHOOSE THE OPTION WHICH BEST COMPLETES EACH QUESTION ACCORDING TO THE TEXT:

What selfies really tell us about ourselves

Psychologists, technologists and behavioral economists differ in their interpretations of the selfie and the risks people are prepared to take socially and physically to snap them. But there is general agreement that selfies are a form of expression that may reveal more than the taker intended, no matter how flattering the filter used.

“We are so bombarded by media telling us how we should look and how we should be,” stated Jacquelyn Morie, a researcher at the University of Southern California. “With selfies you have this authority and autonomy that you don’t have in other parts of your life.” She said selfies are essentially avatars and foresees a day when they will be constructed even more to our liking. As we conduct moreof our life online she suspects they will become more how we see ourselves than our real selves. Of course, selfies can also create a historical record of our life, if maybe a little better than reality. They show the world what you are doing and who you are with and how incredibly fun it all is. You often hear the refrain, “Selfies or you don’t exist,” which may explain some people’s compulsion to document their actions even if doing so diminishes their experience and engagement in the real world.

The need to be recognised, or even adored, is perhaps why so many have become their own Hollywood directors, attaching cameras to sticks and sometimes drones to improve the production value of their lives. Recent selfie-stick bans have been interpreted by some who study the selfie phenomenon as more a cultural movement in favour of authenticity than the elimination of a possible safety threat. There’s also the argument that rather than conferring power, selfies transfer control to viewers because in the end they are the ones who decide whether to post an encouraging or insulting comment, press “like” or ignore your existence all together.

Moreover, as facial recognition software continues to improve, frequent selfie takers may also be giving away their very identity. The more you post pictures of yourself online, the better companies, government agencies and criminals can identify you, not only online but sitting in a restaurant or walking down the street.

Texto