The online lifeworld gives adolescents various opportunities to meet their developmental needs. Not all young people benefit from these opportunities. They encounter negative experiences, have difficulties fulfilling their needs and engage in risky and harmful behaviours in the online lifeworld. This poses challenges for Dutch youth work professionals, as little is known about the digital lives of Dutch adolescents and the challenges they encounter when meeting their developmental needs in the online lifeworld. In this qualitative study, a photovoice method was used to collect screenshots from adolescents (N = 175) concerning their experiences and needs in the online lifeworld. Six types of developmental needs in the online lifeworld were distinguished. The article concludes that understanding how adolescents use online affordances to fulfil their developmental needs is a starting point for all youth work professionals in providing adequate support to adolescents in the online lifeworld.
Writing expressive dialogues can be used to assist individuals in developing their career identities – that is: stories that are needed to help people position themselves in relation to the current labour market. Writing expressive dialogues entails having written conversations with various parts of us – much like a playwright does with his characters – and making developmental gains in the process. In Dialogical Self Theory (DST) terms, it means talking to and with various I-positions on the page, perhaps forming coalitions, discovering counter positions, and innovating and integrating the self (Hermans & Hermans-Konopka, 2010, p. 228-234). And as the playwright Miller suggests in the above quote, the creation of identity is an interactive process between self and others. LinkedIn: https://www.linkedin.com/in/reinekke-lengelle-phd-767a4322/
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
