This book demonstrates how artists have radically revisited the genre of the self-portrait by using a range of technologies and media that mark different phases in what can be described as a history of self- or selves-production.

Gabriella Giannachi shows how artists constructed their presence, subjectivity, and personhood, by using a range of technologies and media including mirrors, photography, sculpture, video, virtual reality and social media, to produce an increasingly fluid, multiple, and social representation of their ‘self’.

This interdisciplinary book draws from art history, performance studies, visual culture, new media theory, philosophy, computer science, and neuroscience to offer a radical new reading of the genre.

This book demonstrates how artists have radically revisited the genre of the self-portrait by using a range of technologies and media that mark different phases in what can be described as a history of self- or selves-production.

Gabriella Giannachi shows how artists constructed their presence, subjectivity, and personhood, by using a range of technologies and media including mirrors, photography, sculpture, video, virtual reality and social media, to produce an increasingly fluid, multiple, and social representation of their ‘self’.

This interdisciplinary book draws from art history, performance studies, visual culture, new media theory, philosophy, computer science, and neuroscience to offer a radical new reading of the genre.

This book demonstrates how artists have radically revisited the genre of the self-portrait by using a range of technologies and media that mark different phases in what can be described as a history of self- or selves-production.

Gabriella Giannachi shows how artists constructed their presence, subjectivity, and personhood, by using a range of technologies and media including mirrors, photography, sculpture, video, virtual reality and social media, to produce an increasingly fluid, multiple, and social representation of their ‘self’.

This interdisciplinary book draws from art history, performance studies, visual culture, new media theory, philosophy, computer science, and neuroscience to offer a radical new reading of the genre.