{"references": ["Benjamin, W. (1989) Peque\u00f1a historia de la fotograf\u00eda, en Discursos Interrumpidos I: Filosof\u00eda del arte y de la historia, Taurus.", "Boellstorf, T. (2008) Coming of age in Second Life. Princeton.", "Bourdieu, P. (2007) El sentido pr\u00e1ctico. Siglo XXI.", "Brea, J. L. (2005) Estudios visuales. La epistemolog\u00eda de la visualidad en la era de la globalizaci\u00f3n. Akal.", "_______ (2010) Las tres eras de la imagen. Imagen-materia, film, e-image, Madrid: Akal.", "Bruns, A. (2008) Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. Nueva York: Peter Lang.", "Caldeira, S. (2016) Identities in Flux: An Analysis to Photographic Self-Representation on Instagram, Observatorio (OBS*), 10 (3), 135-158. Consultado en: http://obs.obercom.pt/index.php/obs/article/view/1031, el 12/04/2019.", "Chua, T. H. H. y Chang, L. (2016) Follow Me and like My Beautiful Selfies: Singapore Teenage Girls' Engagement in Self-Presentation and Peer Comparison on social media, Computers in Human Behavior, 55, 190-197, https://doi.org/10.1016/j.chb.2015.09.011.", "Cover, R. (2016) Digital identities. Creating and Communicating the Online Self. Elsevier.", "Fontcuberta, J. (2017) La furia de las im\u00e1genes. Notas sobre la postfotograf\u00eda. Galaxia Gutenberg.", "Goffman, E. (1981) La presentaci\u00f3n de la persona en la vida cotidiana. Amorrurtu.", "G\u00f3mez Cruz, E. y Thornham, H. (2015), Selfies beyond Self-Representation: The (Theoretical) f(r)Ictions of a Practice, Journal of Aesthetics & Culture, 7 (1), 1-10, https://doi.org/10.3402/jac.v7.28073.", "Herm\u00f3genes (1993) Sobre las formas del estilo. Gredos.", "Kasch, D. (2013) Social media selves: College students' curation of Self and Others through Facebook. [Tesis Doctoral], Universidad de California, Los \u00c1ngeles. Consultado en: https://escholarship.org/uc/item/04259791, el 21/04/2019.", "Khalid, N. L.; Jayasainan, S. Y. y Hassim, N. (2018) Social Media Influencers - Shaping Consumption Culture among Malaysian Youth, SHS Web of Conferences, 53, https://doi.org/10.1051/shsconf/20185302008.", "Khamis, S., Ang, L., Welling, R. (2016) Self-branding, 'micro-celebrity' and the rise of Social Media Influencers, Celebrity Studies, 8 (2), 191-208, https://doi.org/10.1080/19392397.2016.1218292.", "Kjellberg, F. (2017, enero 6) Forced Positivity on YouTube. Consultado en: https://www.youtube.com/watch?v=iyGI1uHyyws, el 20/05/2019", "Lipovetsky, G. (2000) La era del vac\u00edo. Anagrama.", "Manovich, L. (2017) Instagram and contemporary image, [autopublicaci\u00f3n electronica]. Consultado en: http://manovich.net/index.php/projects/instagram-and-contemporary-image, el 20/04/2019.", "Mart\u00edn-Prada, J. (2018) El ver y las im\u00e1genes en el tiempo de Internet. Akal.", "Marwick, A. E. (2015) Instafame: Luxury Selfies in the Attention Economy, Public Culture, 27 (1(75)), 137-160, https://doi.org/10.1215/08992363-2798379.", "Mediakix (2012, junio 5) What is a lifestyle blogger?. Consultado en: http://mediakix.com/2015/06/what-is-a-lifestyle-blogger/#gs.8ps6zg, el 16/04/2019.", "Mosebo-Simonsen, T. (2012) Identity-Formation on YouTube: Investigating Audiovisual Presentations of the Self, [Tesis de Doctorado], Universidad de Aalborg, Dinamarca. Consultado en: http://vbn.aau.dk/ws/files/66761185/Phd_dissertation_Identity_formation_on_YouTube_.pdf, el 20/04/2019.", "Neistat, C. (2017, enero 12) I'm not that happy. Consultado en: https://www.youtube.com/watch?v=sVnI_2JgXGY, el 12/04/2019.", "Reimeris, R. (2016) Theoretical features of the creative society, Creativity Studies, 9 (1), 15-24, https://doi.org/10.3846/23450479.2015.1088902.", "Senft, T. M. y Baym, N. K. (2015) What Does the Selfie Say? Investigating a Global Phenomenon, International Journal of Communication, 9, 1588-1606. Consultado en: https://ijoc.org/index.php/ijoc/article/view/4067/1387, el 30/08/2019.", "Serrano-Puche, J. (2012) La presentaci\u00f3n de la persona en las redes sociales: Una aproximaci\u00f3n desde la obra de Erving Goffman, An\u00e0lisi. Quaderns de comunicaci\u00f3n i cultura, 46, 1-17. Consultado en: http://dadun.unav.edu/handle/10171/27407, el 16/04/2019.", "Storr, W. (2017) Selfie. How we became so self-obsessed and what it's doing to us. Picador.", "Turkle, S. (1997) La vida en la pantalla. La construcci\u00f3n de la identidad en la era del Internet. Paid\u00f3s.", "Wendt, B. (2014) The allure of the selfie. Instagram and the new self-portrait. Colophon.", "Williams, S. J. (2017, enero 16) PewDiePie and Forced Positivity on YouTube. Consultado en: https://www.youtube.com/watch?v=50SIM8RZx1o, el 20/04/2019."]}

En este artículo argumento que las redes sociales han adoptado el carácter de un mercado de imágenes donde la competencia por la atención ha devenido en procesos de estetización fundamentados por el uso de diferentes recursos y estrategias que permiten el control de las autorrepresentaciones mediante la edición de la imagen del Yo, la distinción personal mediante la estilización, y la proyección de una identidad visual consistente mediante la auto curaduría del Yo y las narraciones transmedia. In this article, I argue that social networks have taken on the character of an image market where the competition for attention has turned into aestheticization processes based on the use of different resources and strategies that allow the control of self-representations through the edition of the image of the Self, personal distinction through stylization, and the projection of a consistent visual identity through self-curation and transmedia narrations.