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The subject of this paper is the phenomenon of social media aesthetics, which can be perceived as a tool for promoting and building the image of libraries, especially in terms of merchandising. The aim of this paper is to analyse the potential of the dark academia social media trend in the promotion of academic libraries.

The article is based on a review of the social networking sites YouTube and Instagram and an analysis of network resources using the Brand24 tool.

Resources that are described by Internet users as “dark academia” are popular in social media. Dark academia as an aesthetic concept creates potential for the promotion of academic libraries, especially those that are more traditional in terms of their architecture, décor or how they offer their services.

The paper concerns a phenomenon which, although popular socially, has not yet been scientifically analysed in the literature on the subject. Since the topic is new and there is no scientific literature on it, the author had to base the paper on less standard sources of information (e.g. analysis of the content of social media). The article is a review, an introduction, as well as an invitation to further discussion. The author's aim is not to comprehensively cover this topic but only to draw attention to an interesting and rarely discussed issue that has great potential for practical activities.

The topic has great potential for the practical improvement of the promotional activities of libraries, especially older, more traditional libraries, to create a strong and positive image on the basis of characteristics often perceived as weaknesses.

Social media services are powerful social impact tools. Showing the potential role of social media aesthetics for cultural institutions could serve to make the public more aware of the role of the proper use of social media for promotion and image building.

The use of social media aesthetics is very rarely discussed in the subject literature.

The purpose of this paper is to examine the strategic importance of visual aesthetics and presentation modality for consumer responses to fashion luxury brand content posted on Instagram.

A content analysis of 40,679 posts on the official Instagram accounts of 15 global luxury brands was conducted.

Brand posts using expressive aesthetic image received more likes and comments on Instagram than those with classical aesthetics. Brand video content received more likes and comments than static content. There was also a significant interaction between visual aesthetics and presentation modality in generating likes and comments. Brand content adopting expressive aesthetic and audio-visual modality generated more responses when using audio-visual modality, while content using classical aesthetics produced more responses in a visual-only format.

As visual aesthetics and modality resulted in different responses to Instagram ads, luxury marketers should consider using appropriate approaches when creating brand posts on Instagram.

This is one of the few studies examining the effectiveness of visual aesthetics and presentation modality in Instagram advertising, especially in luxury fashion brand context.

Purpose: This chapter outlines a cultural critique of the Gangsta as an exemplary figure to investigate the performance of social media identity. The main goal of the chapter is to illustrate some of the implications that social media have on the contemporary dramatization of the criminal, here framed as a collective techno-cultural process at the threshold between social stigma and branding. Despite using the term “Gangsta,” the author’s intent is not to “fix” this figure as an identity or a class of people, but rather to identify a broad cultural context that emerges from a glocalized hip-hop imaginary, stemming from gangsta rap and evolving alongside trap and drill.

Methodology/approach: The contribution is not intended as an empirical sociological study, but a critical cultural exploration of convergent media that bring together a glocalized gang culture and everyday social media interactions. In the second section, the author outlines his theoretical framework by identifying a point of convergence between recent studies of Instagram celebrities and criminological takes on the selective nature of gang identity. The author also explores the relationship between the “dissing,” a cultural form that is very relevant to the more aggressive sub-genres of rap, and the practice of tagging, a key affordance of social media platforms. In so doing, the author frames social media tagging as a form of identity labeling.

Findings: In light of the theory previously outlined, the author explains how tagging is used alternately to enforce social stigma and engage in recursive branding. The final section examines the aforementioned forms of tagging more in detail, in relation to specific media ecologies of YouTube videos that feature compilations of Instagram Stories originally posted by emerging Italian rappers.

Research limitations: Although it is aimed at offering an interdisciplinary contribution, this chapter adopts an admittedly media-focused perspective. Rather than producing more evidence about the use of social media by gangs, the author comments on existing sociological insight in relation to the affordances and esthetics of social media ecologies, re-problematizing certain forms of online interaction.

Originality/value: By focusing on the commonplace practice of tagging in relation to the figure of the Gangsta, the author emphasizes how online labeling practices can be more fraught that they appear, emphasizing the need for further critical reflections on the stereotyping potential of social media branding practices.

Social media influencers increasingly determine what is fashionable. By creating and sharing visual contents, predominantly on Instagram, they shape what social media users see and aspire to. Their contents reflect Instagram esthetics and their own personal brands. This chapter argues that their visuals also represent emerging visual practices and styles that are typical of influencers and transcend fashion and tourism contexts. Using a netnographic approach, this chapter examines Instagram posts of 20 tourism and fashion mega-influencers. It finds common practices but also identifies differential ways in which fashion and tourism visuals are constructed. This chapter highlights how the subjects have intertwined, especially when it comes to influencers.

This study examines the relationship between spectator motivation and sports consumption behaviours in the context of an adaptive sport. Respondents were spectators from five matches held in the Midwest United States involving registered United States Quad Rugby Association teams. The Motivation Scale for Sport Consumption (MSSC; Trail & James, 2001) was adapted to measure spectator motivation and predict repatronage intentions and online media consumption among wheelchair rugby spectators. Results indicated that two spectator motivation factors, physical skill and knowledge, were related to repatronage intentions. In addition, knowledge and vicarious achievement were found to be related to online media consumption.

In response to calls for more research on gender(s) in digital contexts, this paper aims to ask, how do individuals engage in self-presentation of their gender identities on social media?

Using a multi-method qualitative approach, this research explores the narratives of 17 Millennials as they negotiate their online gender expressions with a particular focus on the image-based social platforms, Facebook and Instagram. Specifically, in-depth interviews, a collage technique and visual data from informants’ social media pages were analyzed to identify emergent themes.

Drawing on the theoretical work of Goffman’s (1971) self-presentation and Butler’s (1999) gender performance, this research highlights a pervading discourse of authenticity or the desire for Millennial social media users to craft and perform a perceived “authentic self” online. This often entails both expressions of gender fluidly and gender policing. Further, four strategies emerge in the data which reveal how individuals negotiate and navigate their gendered self-presentation online, either in an agentic manner or as a protective measure.

While much research exists on online self-presentation, gender(s) has been under-researched in a digital context. Existing studies examine the content of social media pages (e.g. Facebook profiles or women’s Instagram pages) as it relates to gender, but largely do not explore the lived experiences and narratives of individuals as they negotiate their gendered expressions. In addition, the use of visual data through the collage technique adds valuable insight into how gender is experienced and performed. Findings reveal that while Millennials are often touted as a gender-fluid generation, tensions still exist in online gendered expressions.

Applying signaling theory to Schein’s organizational culture framework, this study aims to explain how restaurants communicate that their establishments value wine through multiple cultural attributes.

A phenomenological research design was adopted to conduct three focus groups with 14 restaurateurs about wine culture. Conversational analysis with Straussian coding was used.

A comprehensive definition of wine culture was provided, and five factors emerged that signal the presence of a wine culture. A wine presence includes a wine list, marketing efforts, community involvement and restaurant aesthetics. Employee traits are defined by individual attributes, communications skills and overall knowledge (training). Restaurant identity reflects the cultural alignment and customer relationship expectations set forth by ownership. Organizational structure reflects a restaurant’s hierarchy within which an individual or department is afforded the freedom to invest in wine. Future alignment reflects generational differences and trends in wine preferences and consumption.

Researchers are provided a wine-culture definition and framework for wine research. Restaurants can use the study’s findings to formulate strategies for establishing a wine culture.

This study provided a framework for restaurateurs who wish to be known for wine to implement. Researchers and restaurateurs may facilitate communication between guests, staff and an organization regarding wine as a means of creating a competitive advantage.

This paper aims to center the experiences of three cohorts (n = 40) of Black high school students who participated in a critical race technology course that exposed anti-blackness as the organizing logic and default setting of digital and artificially intelligent technology. This paper centers the voices, experiences and technological innovations of the students, and in doing so, introduces a new type of digital literacy: critical race algorithmic literacy.

Data for this study include student interviews (called “talk backs”), journal reflections and final technology presentations.

Broadly, the data suggests that critical race algorithmic literacies prepare Black students to critically read the algorithmic word (e.g. data, code, machine learning models, etc.) so that they can not only resist and survive, but also rebuild and reimagine the algorithmic world.

While critical race media literacy draws upon critical race theory in education – a theorization of race, and a critique of white supremacy and multiculturalism in schools – critical race algorithmic literacy is rooted in critical race technology theory, which is a theorization of blackness as a technology and a critique of algorithmic anti-blackness as the organizing logic of schools and AI systems.

The purpose of this paper is to report on the Fall 2015 MARAC Conference.

This paper focuses on the use of technology in archives, libraries and museums, as presented in various sessions at the Fall 2015 MARAC Conference.

Archives, libraries and museums are harnessing technology to archive Twitter feeds, digitize obsolete media, provide better online access to collections, automate workflows for patron-driven requests, conduct forensic recovery of born-digital objects and manage long-term access and preservation of diverse digital collections.

The paper condenses the authors’ notes from various sessions.