Everyday influencers’ domestic and automotive spaces form infrastructures producing the self.

Evidence

The spaces we examine in this book are some of the infrastructures that provide the means of production of the self in influencer culture. With our case above, we moved from practices of documenting a “self” toward a range of other concerns, linking visibility, technology, and the commodification of identity. Once we realize that selfies do not really exist, we can then look toward the backgrounds of images and videos, toward an entire architecture that appears in flashes and glimmers in the content of influencers. This architecture links gaudy domestic design with anonymous warehouses, the interiors of cars with ghost kitchens and “lean” start-ups, social media monopolists with the most banal, daily routines of parents and children. And, most significant, it points toward an emerging model of subjectivity in which “successful” individuals understand themselves as living, breathing, talking corporations. — Grant Bollmer, Katherine Guinness, The Influencer Factory, 120

Categorization

• DEFINE: Names the four infrastructure categories (house, car, market, warehouse) and frames them as means of production of the self.