inside 2020 paper The “TikTok and ‘Classified Self'” researchers argue that the platform is different from other social networking sites (SNS) because it does not involve connecting with a network of friends and more. is “a public website built on interaction between individuals” while generating content for a trending algorithm. They write: “Despite its similar aversion and interest in self-actualization and identity management, TikTok rewrites the mechanics of this process through a design that guides the user in one direction. different from other SNSs,” they wrote.
It’s basically a digital sandbox that invites people to believe. Kurzock writes: “The unplanned back and forth between creators makes apps a fun social playground. “TikTok users play and perform in simulated characters and settings… This video maker app is an escapade from reality.”
And it’s an escape from reality when many of our typical opportunities give play adults-this is literally play, use your free time to do something unusual — interrupted by the pandemic. In January 2018, TikTok was 55 million won global users. As of September 2021, it has more than 1 billion. Its rise is partly because it’s entertaining, a more positive place than Facebook.
Because platforms give people the opportunity to constantly figure out how they want to configure them, the exact use of TikTok is always changing—and it can be many different things at once. What’s happening with a situation like West Elm Caleb seems to be that people use the platform to share with a small group (women in New York City who may or may end up dating Caleb) and provide information like them on more intimate social networking sites, like Facebook. They don’t make music-backed tracks with special effects like the TikToks that Kuzrock rated in his film studies. They are creating face-to-face, confessional and intimate videos.
But the theme introduced – West Elm Caleb – still becomes the theme of imaginative play. That part of TikTok stays on chat. Posting presents the possibility, and perhaps inevitability, of mass participation. While Kuzrock’s research excludes in-person confessionals, TikToks in this format still become cinematic by the very nature of the platform and how it incentivizes users. These videos are also performance — just with higher stakes.
This is not to say that TikToks should be limited to lip-syncing but admittedly, this is one of the first posters of West Elm Caleb. put it, “If you leave it to the TikTok gods,” you are actively participating in a system that supports mass participation and interpretation. The intimacy expressed through phrases like “time to tell the story,” “bestie” and “let’s get started” is wrong. You’re providing material for the remix, even if the material is personal details about your life or someone else’s. If you do post, there is a possibility — even an inevitable — of mass participation.
This can be really exciting, and it can also take a toll on an individual. Only one speech that every day there is a protagonist on the internet. The goal is not to be this person. Before he was West Elm Caleb, this one was Caleb, someone who looks sly when it comes to dating, but whose photo has now been released without consent. his and Whose workplace? now baffled by the mention of the whole incident. In the digital sandbox, you play — play with documents, play detective, play Paul Revere dating scenes in New York.
On Thursday, a former lover of West Elm Caleb posted her own TikTok, criticized the way people were approaching the situation and said “you need to remember that there’s actually a human behind your screen.” But TikTok is designed to take advantage of your attention, to entertain. This means turning the real into the unreal at the speed the crowd demands and turning the private into performance.
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