The gains of participating in the digital party scene are exemplified by a group of young, blonde women known on Yeti as the LadyLair. Dominated by images such as sexualized selfies and selfies of themselves participating in the party scene, Yeets featuring the women of the LadyLair were among the most popular on Yeti. In posting selfies, the women of the LadyLair were able to control how they represented themselves, exercising agency over how their photos were framed, edited, and posted on Yeti.
In doing so, by adhering to a narrow expectation of femininity in the digital college party scene, the women of the LadyLair gained popularity and status, a benefit of participating in the digital college party scene. However, in posting images that garnered them recognition and status, the women of the Lady Lair were also subject to costs.
While the young women of the LadyLair were featured in highly liked Yeets, their Yeets were often met with criticism and insults, often in the form of what Armstrong, Hamilton, and Seeley refer to as the slut discourse. The slut discourse operates through labeling women with terms such as slut and ho when they violate sexual standards used to enforce boundaries of status among women. This Yeet shows how the women of the LadyLair, as highly visible and popular women in the digital college party scene, were subject to the slut discourse and marked with negative sexual labels.
Photos of the LadyLair women in the mentioned Halloween costumes were popular on Yeti, showing how sexualized selfies and participation in the party scene for women adhering to standards of whiteness, thinness, and heterosexuality is rewarded.
However, the negative Yeet discussed above and corresponding response to it show how the pathway to popularity also subjects women to the slut discourse. The women of the LadyLair were able to garner gains of status and popularity by posting sexualized selfies, images over which they have initial control.
These same images were responded to with harassment and Yeets subjecting the women of the LadyLair to the slut discourse and the costs of participating in the digital college party scene. The very modes of recognition and reward in the digital college party scene subject women to costs. The consistency with which women were met with such responses show the costs for women in the digital college party scene.
Participation in the digital college party scene is a process. When posting sexualized selfies, women can control the image and caption, and choose when and what to post on Yeti.
Once the Yeets are posted, an environment of harassment and slut shaming makes it difficult for women to participate without being subject to negative responses. This is not to negate the benefits of gaining status and popularity in the digital college party scene or to imply that women in college party culture are victims of false consciousness.
Rather, it points to the digital college party scene as a technological and cultural site organized around the interests of heterosexual masculinity. Turning now to the role of men and masculinity in the digital college party scene, we discuss images of women taken, posted, and circulated without their consent.
Images of young women and their bodies dominate the visual culture of Yeti. Gendered dynamics at work in the college party scene create an environment where sexualized images of women are included alongside images of drinking and parties as indications of the debauchery and large-scale fun celebrated on Yeti. Two types of photos are included in the smash genre: pre-smash and post-smash. The ways women are framed in these photos indicates these images are likely to have been taken without their awareness or consent.
All of the images were taken from behind the women, indicating that the photo could have been taken without their knowledge or consent. Her face is not visible and the photo is taken from behind her. Her face is not shown and the photo is taken from above her and she lays face down in her underwear.
Such Yeets, featuring photos of naked women, received numerous likes and reinforce the digital college party scene as an environment structured around heterosexualized masculinity. The unequal gendered dynamic at work in college party culture, in which men gain status by securing sex from women, coupled with digital sex talk as an assertion of heterosexuality culminates on Yeti; a digital space where men can post photos of naked women anonymously, without consequence or consent.
Other Yeets reinforced this idea, including a Yeet featuring a video of a woman walking on the sidewalk focused on her buttocks, and a photo of a woman focused on her buttocks, as she is standing at the front of a classroom, writing on a whiteboard. Although issues of consent have recently come to fore as colleges and universities are grappling with an ongoing epidemic of sexual assault and rape, Yeti shows us there is still much work to do. Our time spent on Yeti reveals a troubling picture of the digital college party scene.
The digital college party scene is not only exclusionary, with recognition granted to individuals adhering to ideals of whiteness, wealth, and a rigid gender binary, but also contributes to and exacerbates unequal gendered dynamics in college party culture. While women exercise agency in crafting images they post of themselves, such participation exposes women to a social environment in which slut shaming and harassment are normalized and even celebrated.
Women are faced with a bind of representation; the modes through which they are able to gain popularity and participate in the digital erotic market are they very modes that subject women to harassment and the slut discourse.
As feminists invested in combatting the sexist party culture on our campus, observing Yeti was a difficult task. We repeatedly thought about different modes of intervention, including enforcing the terms of use on Yeti and shutting down our campus Yeti feed. At other times during our time on Yeti, we talked about what it would take to get our campus Yeti feed shutdown.
By the time a particular app or digital tool becomes known and is targeted to be shutdown, the digital college party scene has moved on to another site, continuing unabated and uninterrupted. It would be helpful to state this problematic more clearly throughout. On one hand, women who assert agency by posting pictures are subjected to abuse. On the other hand, women are deprived of agency and subjectivity through non-consensual photography and posting practices.
Maybe use the notion of slut discourse to set up your discussion of LadyLair also, can you provide citations for it? You need a stronger transition into this section.
And maybe the section on virgin-shaming should appear after you talk about smash? Say something about the violence implicit in this formulation of sex presumably vaginal or anal intercourse, but not clear from the context. Post smash photos seem more importantly to be a creepy form of visual stalking, evidence that women are always vulnerable and easily taken unawares. The fact that Yeti does nothing to regulate it is further evidence of the extent to which this predation looks natural to people in the tech community.
You might want to incorporate a sense of this into your framework for the essay. As you revise, it would be good to state this more straightforwardly and clearly. Thank you for initiating this conversation. You end with the notion of abominable feminists, an assertion of agency in the face of repression, and its written into your title, but I think it needs to be wrapped into the introduction to this paper.
Also, you might think a bit more intersectionally. I understand that the campus is racially homogeneous — perhaps you can state that as a limitation in your methods section unless there were racially diverse images in your sample. Second, you might say something about the toxic nature of the gender binary as it appears on apps like Yeti.
July 7, at am. See in context. July 6, at pm. August 1, at am. I enjoyed reading this article, which tackles a daring, challenging, and novel topic, namely the artistic representations of LGBTQ groups in Tunisia, as a form of gender activism and resistance.
The article is groundbreaking, in terms of both content and form. In tackling these important issues, the article exemplified and simulated the spirit of the artistic event which is at the heart and center of this article, namely the festival involving members of LGBTQ communities and their allies which was held in Tunisia, and better introduced it to the receiving audience of readers, by including photos, videos, and interviews from this festival.
First, adopting a less descriptive, and a more analytical, approach in dealing with the issue at hand. This includes focusing more on explaining the political, social, religious, and historical context in Tunisia, and what makes it similar, yet uniquely different, from other Arab countries. For example, providing more details and further explanation about the history of gender movements, laws, and legislations in Tunisia, which have been largely groundbreaking, compared to other Arab countries, both historically and within the contemporary era.
Third, the article needs to flesh out and unpack some of the most important push and pull mechanisms in Tunisian society, such as the tension between secular and religious forces in Tunisia, for example, over many historical phases, from past to present, and how these opposing forces and competing ideologies played an important role in the intersecting domains of political activism and gender activism.
So, rather than merging them under one category, as simply marginalized groups, the article needs to critically unpack their similarities and differences. Finally, there is a need to revise this article stylistically to improve phrasing, spelling, punctuation, and grammar.
Overall, I found this article to be useful, innovative, engaging, and informative. I recommend its publication, after incorporating these recommended changes and outlined revisions. July 27, at am. It is voluptuous, loves gold and nail lacquer and indulging in cake and racialized enfleshment. It revels in its sensuality and excess and stakes different political claims. Enjoyed this conclusion, and its much more powerful impact than the introduction, which felt dry and took me some time to get into.
I like this argument, and it would be good to rewrite your introductory paragraph with a similar claim that will foreground how we are to think about Rococo. It would be useful here to cite something they themselves have stated about this aesthetic? Why were they dressed that way? This is a lot to push into the following years. I would instead link it to a current moment or image or event, and then use that to leap into the argument about the violences you refer to.
How do these forms help realize transnational feminisms and work specifically to build and strengthen these networks in their preservation? Are these paintings circulated or archived digitally? If so, does the visual language translate in the same way in the mediated environment? Make sure your teen knows how to report abuse and harassment on this and all social-networking apps. Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.
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Rate app. Play or buy. Based on 1 review. Kids say No reviews yet Add your rating. Get it now Searching for streaming and purchasing options Common Sense is a nonprofit organization. Your purchase helps us remain independent and ad-free. This means that if people really wanted to find you they could, even though it is anonymous otherwise. Anonymous — PSST! Anonymous is also one of the best apps like Whisper out there right now. This app is free to download on both iOS and Android and it is the most similar to Whisper.
You will notice that PSST! Anonymous is like a social network with anonymity, and you can share secrets, opinions, news, and much more with this app. You do not have to worry that someone will find out who you are because none of your location information is shared. You also will be able to chat with people from all over the world, so this is more than just a local app. You can find people with the same views and interests as you so you can talk or share content or you can just talk about your life and experiences.
This is one of the best anonymous social networking apps out there. Cloaq — Given the name of this app, Cloaq, it is definitely on our list of apps like Whisper you should try. With this app, you will be given a username that is not descriptive of you and then you can begin posting. You have to give away no real personal information when you sign up for this app.
The only thing you have to do is give a password to your account username. You are not connected to anything you post in case of a hack or anything else. Cloaq allows you to post your secrets, confessions, frustrations, thoughts, and so much more.
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