Abstract

This paper explores how social media platforms such as Facebook, TikTok, and Instagram function as digital panopticons, fundamentally reshaping identity, agency and authentic relationships. Drawing from Bentham’s panopticon theory, the analysis explores how users are simultaneously observers and the observed, compelled to curate false identities. The emergence of performative identity as a survival strategy is highlighted, leading to widespread social comparison, diminished autonomy and increased feelings of loneliness despite increased connectivity. The ongoing social illusion of choice and empowerment is critiqued, revealing how curated algorithms and social voyeurism naturally erodes genuine friendships, fostering transactional and para-social bonds. This paper ultimately argues that social medias panoptic structure normalises self-surveillance and peer policing, transforming once authentic and intimate bonds into public performance in the new era of over-connection.

Introduction:

Social media platforms and communities have significantly altered how individuals construct and perform identity, creating an environment where perceived agency in self-expression is demanded whilst reshaping once intimate social bonds into transactional exchanges. Social Media, whilst seemingly connecting us, showcases a powerful influence that moulds individuals’ sense of self, and conscious decision-making and seeps into our real-world relationships; many individuals find loneliness in over-connection. Much like the panopticon theory originated by Jeremy Bentham (Yates, 2022); a prison system where “a central observation tower” is situated within a circle of cells, all under surveillance without knowing, social media has been moulded for viewers to become supervisors of one another (Yates, 2022).

Bentham constructed this theory to represent their belief that power and influence should be visible, holding the potential to alter societies, transform ethics, and integrate a norm of self-surveillance (Yates, 2022). Our screens are a platform to watch and be watched, digitally oppressing others, and curating perceived ideas on who individuals are, based on what they post, like, or share. This conference paper will analyse how platforms such as Facebook, Tiktok, and Instagram curate systemic surveillance that reshapes the identity construction of their users, enforce behavioral norms through peer policing, and erode authentic friendship whilst keeping a façade of empowerment and togetherness.

Performative Identity:

Performative identity is one of the foundations of this theory, through the reinforcement of the social media Big Brother system. Platforms transform users into self-conscious performers, redefining our online identity to avoid punishment or seek engagement. Inauthenticity can be seen as a survival tactic in navigating the online sphere, with users feeling pressured to maintain a digestible, aesthetic, and appealing persona, masking flaws and their unique individuality to appease the masses. Restaurants are not visited because they are enjoyed, yet due to them being posted. Shoes are not bought for function, but for trending styles, and cities are visited not for culture, but to photograph.

Lifestyle benchmarking creates unfair and unethical comparisons between, reports stating 93% of users feel pressure to compare themselves in various aspects of life, and 34% feel this pressure specifically surrounding wealth and success (Cybersmile, 2023). 74% of users studied stated comparisons influenced them to want to change a certain part of their body through surgery (Cybersmile, 2023). This system controls where you go, what you wear, and who you see, pressured to maintain a reputation that is not real. When inconsistencies are found, which they will be, an onslaught of questioning and curiosity follows. Whether it be a breakup from a beloved media couple or a new engagement, a lack in photos of the pair or a hidden left hand is an easy case for many social media sleuths. Where audiences are so committed to analysing content deeply, creators are forced to strategize their posts and internalise self-discipline, much like the panopticon theory alludes (Yates, 2022).

Identity Control:

A loss of control over one’s reputation naturally follows, whether it be shone in a positive or negative light. Private aspects of a user’s life quickly become public knowledge and up for debate and judgment. Panoptic discipline is used by watchers and is the new social norm in digital ostracism. Accusation, trial, and punishment can be followed to hold users to account when their digital footprint showcases something negative or in contrast to their perceived identity. Rachel Hollis is a prime example of how cancel culture can be quick-acting, and insightful in understanding performative identity compared to an individual’s proper morals, ethics, and perspectives (Cena, 2024).

Rachel Hollis, a famous self-help author uploaded a video in 2021 comparing herself to Harriet Tubman, stating she was “unrelatable”, like her (Cena, 2024). Hollis in a later video referred to her housekeeper as “the woman who cleans the toilets”, showcasing her lack of understanding of privilege and unfair comparison, Harriet Tubman being a significant figure of social advocacy in the face of slavery (Cena, 2024). Many of Hollis’ followers actively disengaged with her content and held the author to account, even when an apology was given, it was not returned with forgiveness (Cena, 2024). The author suffered various social and economic punishments, losing over 200,000 followers and brands severed ties in response (Cena, 2024). Unlike a judicial system, social media convictions permanently tarnish identity and list no expiry date (Dibble and Rosaen, 2011). The performative identity is continuously followed by reputational risk, LinkedIn for example can uncover an exaggerated skillset of an applicant through background check discrepancies, matching up claim to post.

Illusion of Choice and Voyeurism:

Social platforms present an illusion of choice, in what content or knowledge can be viewed or produced. Social media influence is not forced yet seduced, instilling a pattern of social media voyeurism. Platforms do not need to be joined; posts are not required to be uploaded. Users download and engage with media due to the “fear of missing out” (FOMO), not out of genuine desire (Ozimek, et al., 2024). Knowledge missed or gossip kept untouched is a pleasure many cannot pass on. Whether this be news about our favourite celebrity, our co-worker’s private life or an enemies where abouts, users jump at the opportunity to indulge.

Voyeurism traditionally is centered around sexual gratification, however, can be applied within the social media space, expanding to the emotional consumption of others’ lives and “redefining the concept of privacy” (Medina, 2021). This application is built upon algorithmic structure, and the appeal of the mundane and one-sided viewership (Berry, 2023).

Algorithms are curated specifically to normalise a surveillance-style interaction with users, increasing engagement of certain content to further fuel the pleasure of lurking. Users feel as though they have control over what content they consume for entertainment, however, content that is presented is often curated to that individual’s likes, saved posts, and viral trends to encourage longer usage.

The increase of “with me” content seen on platforms such as TikTok and Instagram, transforms everyday activities into voyeuristic material, catering for social comparison and parasocial bonding (Berry, 2023). Content that blurs the line between aesthetics and everyday reality subtly influences watchers’ desire to obtain a certain lifestyle promoted by creators, eroding the ability to make autonomous choices and ascertain the difference between real life and script.

The independent choice to detach from our screens seems like an easy decision, however for many this means leaving behind asymmetric friendships and forming an independent identity based on our actual wants and desires, not things we are told to lust over. Adolescents are particularly at risk of engaging in “voyeuristic practice” as a means of entertainment, yet the consequences can be greater than the reward (Doster, 2018). Doster, 2018 explains, passively observing influencers on Instagram for example, models to teenagers as a template of identity construction, creating a new label of watcher, the “Shy Aspirer”. Although being exposed to a variety of individuals, to test and refine their own sense of self, a common theme of disconnect between their authentic self is found, not knowing what they dislike or like without external validation. The journey of being a social media voyeur is recreating the personalities we see online within ourselves, no matter how inauthentic they may be.

Genuine Friendship:

The diminishment of real friendship follows a trend of friend-to-follower, social media encouraging superficial connection and “parasocial relationships” (Dibble and Rosaen, 2011). Happiness is found in wedding photos of a couple that do not know their watchers personally or a thank you post from an artist whom you support, as if that ‘thank you’ is for you personally (Dibble and Rosaen, 2011). It is a harsh reality that deep friendship is of a dying breed, not indulging in our online friends’ lives because we care, yet because it is content.

Influencers on Instagram showcase this perfectly, opening up their lives to let their viewers experience their family, their friends, and milestones as if they are actively participating within that individual’s purple circle. Even when engagement is one-sided, viewers enjoy imagining it is not, which is abnormal for any relationship, where millions of individuals are “getting to know”, “getting ready with” and supporting without that being reciprocated. Not only does this drains user social battery and emotional ability, but it also detaches us from real-world bonds that operate reciprocally. How can friendships blossom if they are not posted? How can friends be real if they are not followers?

There is true loneliness in over-connection, despite being more connected than ever, a tidal wave of loneliness is seen to run rampant in our current social climate, the Australian Bureau of Statistics, 2022, claims that 20% of people reported feeling lonely. The panopticon seen throughout social media transforms our real-world relationships into performance reviews. Many admit to using social media to check a significant other’s followers, likes and activity, monitoring their loyalty through their screens (Bouffard, Giglio and Zheng, 2021). Evidence is now needed for a friendship to exist within a user’s mind, fuelling the need to post when a catch-up is occurring, an annual reminder that a relationship has hit another milestone or that an event was attended instead of enjoying the moment for what it is.

Loneliness in over-connection showcases how social media is a mere substitute for genuine and authentic connection, leaving many users feeling isolated and unfulfilled within their relationships. Parasocial relationships, although they can curate a platform for learning and sharing of experience, is a by-product of the social media panopticon and not organic.

Conclusion:

Social media has evolved to be a real-life representation of Jeremy Benthams panopticon theory, where performative identity is enforced, viewers’ attention is seduced, and authentic connection is eroded. The panopticon has found its modern counterpart in social media platforms that normalise self-surveillance as a means of engagement, community and identity construction.

Platform users, both being watched and the watchers, craft ingenuine personas to coincide with social norms and constraints, seeking peer approval and validation. Identity is not only falsely portrayed, yet also consumed; an aggressive cycle of identity theft taking place, users forcing their desires to align with one another, instead of embracing the beauty of uniqueness.

Control over these ‘front-stage’ facades can only be controlled for so long, users’ digital footprint surfacing to contradict what they portray, inviting judgment and cancellation into conversation. Voyeurism is the fuel of this ecosystem, with users finding addiction in the mundane. Consuming other’s lives through the lens of perfect lighting and aesthetic moments, social media users actively resort to unjust comparisons within their own.

Para-social bonds exploit this desire to consume, creating an environment of asymmetric bonds and the idea of evidence being needed to prove relationships exist. Intimate discussion and support is on the back burner, facing the priority of transactional relationships, users lusting over the digital response to a photo, like or share. Identity transforms from what once was a carefully curated exhibition of what is important to an individual, to now an internal and external performance review.

Superficial friendship has replaced meaningful bonds with people, interacting with followers for self-validation rather than genuine care. The panopticon has shifted modern society to watch others live, rather than living themselves. After all, an unreciprocated friendship is easier than a troublesome connection. Breaking through from the panoptic experience demands active disengagement and understanding that being seen is not equal to being valued, it is in moments where genuine identity, which is not curated or boosted for clicks can simply be, without being judged.

References

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