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Hence, the difference between real celebrities and people such as those camgirls engaged in microcelebrity practices lies in the ways in which members of these groups address their respective audiences.
The chapter also suggests that celebrities are commodities masquerading as people, while those engaged in microcelebrity are people experimenting with branding themselves as commodities, a point that the author discusses in chapter 2.
Senft then acutely notes that common assumptions about these two categories—political and personal—make commentators forget to analyze and understand the political values of personal blogs and of other online network/community-building tools, exemplified here by Webcamming (that is, dramatizing one's life and views on the Web with a camera), and focus by contrast on apparently more openly political expression on the Web.
After this framing introduction, the core of the book is divided into five chapters, each of which identifies different issues regarding Webcamming.
This means that physical interaction with an individual known only on the Web should be taken into consideration by members of network communities, since usually viewed and lived experiences are considered to be mutually exclusive (the author reports the case of an attempted suicide, watched by more than 1,000 viewers, without anybody but two of them calling 911 as a "concrete" reaction).
Through hundreds of years of history, objectification of the female form has remained a central part of Western art culture, whether through oil painted on a canvas or pixels streamed through a webcam.
Chapter 5, "I'm a Network: From 'Friends' to Friends," examines the concept of community building, focusing on what the author calls "networked reflective solidarity": a political identification and alignment with the other, performed by acknowledging not identity but difference.
As Senft explains, "In reflective solidarity, I acknowledge that others are knowable to me only via conjecture or fantasy, yet I chose to believe in them and the affinity we share, and I vow to listen to them" (108).
Here, the concept of dialectic confrontation is again taken up when talking about both identity performance and community/network building, and through them elaborating the notion of ethical narcissism, which further strengthens the idea of "the personal is political" already stated in the introductory chapter.
According to the concept of ethical narcissism, if the author of a blog (or any other personal space on the Web) accepts the possibility of interaction with a network, as opposed to a purely nonconfrontational exposition, the narcissistic practice of personal blogs can become ethical in the sense that it becomes dialectic and creates the opportunity to spread a dialogue beyond the established network in which it was originally formulated.
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discusses, in the words of its author, "what it means for feminists to speak of the personal as political in the age of networks" (115).