Academic literature on the topic 'Self-help techniques for teenagers – Juvenile literature'

Adolescence is a stage in development experienced by individuals that is different from previous periods. In this period individuals face puberty which is marked by the transition from childhood to adulthood. At this time, teenagers face doubt, uncertainty, emotional instability, so that their actions often deviate from values and norms, this deviation is influenced by many aspects both from within and from outside. The aim of this research is to identify, analyze, study and conclude the factors that trigger juvenile delinquency and efforts to overcome it. The method used in the research is library research with a systematic literature review (SLR) approach. Data collection was carried out using journal search techniques with the keywords "juvenile delinquency", "triggers or causes of juvenile delinquency", "efforts to overcome juvenile delinquency", from journals indexed by Sinta or Google Scholar, and Scopus which were published in the last six years, namely 2018-2023, Data validity testing is carried out by selecting journals based on inclusion and exclusion criteria which will be reviewed is currently analyzing the data by processing all collected articles identified based on inclusion and non-inclusion, place, index, content, then described and analyzed and concluded. The results of the research show that the triggering factors for juvenile delinquency consist of internal and external factors, internal factors namely from within oneself due to an identity crisis, weak control and self-control, and lack of discipline; while external factors include family environment, lack of attention and affection from parents, broken home, low knowledge and practice of religion, poor social environment, school environment, negative influence of peers, weak economy, uncontrolled use of social media information technology, low level of education, and carefree upbringing, while efforts are being made to control it with a strong understanding and practice of religion, democratic parenting, attention and affection and treatment of teenagers according to their age, giving good role models, giving trust and responsibility, training entrepreneurial entrepreneurs, and collaboration with youth organizations in providing sports activities and religious studies. This research provides information about the factors that cause juvenile delinquency and its prevention so that parents or schools can reduce or prevent juvenile delinquency.

The influence of peer groups on children’s psychosocial development is highlighted in the sport psychology literature in areas such as motivation, self-perceptions, and affect. However, scant research has been devoted to examining children’s and teenagers’ conceptions of friendships within the physical domain. Current and former sport program participants (N = 38) took part in an in-depth interview that concerned their best friend in sports. An inductive content analysis revealed the existence of 12 positive friendship dimensions: companionship, pleasant play/association, self-esteem enhancement, help and guidance, prosocial behavior, intimacy, loyalty, things in common, attractive personal qualities, emotional support, absence of conflicts, and conflict resolution. Four negative friendship dimensions were extracted: conflict, unattractive personal qualities, betrayal, and inaccessible. These conceptions of friendship were both similar and unique to friendship conceptions found in mainstream developmental research. Future research directions include measurement efforts, relationships among important constructs, and intervention techniques in the sport setting.

This research aims to determine the influence of music on the psychological aspects of teenagers involved in coaching at Corpus Christi Lawang in Malang District, East Java, Indonesia. The research method used is a qualitative approach using observation, interview, and literature study data collection techniques. The findings of this study highlight that music influences various psychological aspects of adolescents, including mood, behavior, self-identity, and social interactions. The results of this research provide an in-depth understanding of the role of music in the development of the young generation in Corpus Christi Lawang. The practical implications of this research can help foundation administrators design more effective coaching programs by utilizing music's power to influence adolescent psychology positively. Music's influence on adolescent psychology at Corpus Christi Lawang aims to influence a person's emotions and provide calm to the subconscious (id) which can be controlled and build emotional, spiritual, and social structures in the rhythm of music when listening and expressing it.

Fashion or style of dress as a form of self-expression, is closely related to the way people communicate values, personality, status, identity, and feelings to others. Adolescence is a period in which a person experiences considerable physical development where they are more sensitive to their appearance, today's teenagers enjoy trends that are appropriate for their time and strive to become a well-known trendsetter among their circles. The purpose of this research is to help the public, especially teenagers, to have knowledge about modern fashion trends in Indonesia. The application development method used is the agile method and the data collection techniques used are observation, interviews and literature study. The modeling language used is UML including Use Case Diagrams, Use Case Scenarios, Activity Diagrams, Class Diagrams and the programming languages that will be used are Java, Android Studio, then SQLite as a place for database design. The results of this study aim to develop an Android-based fashion stylist and event outfit application as well as assist in simplifying the process of choosing clothes that are suitable for use and can save time in choosing clothing ideas of interest so as to provide an overview of modern fashion in Indonesia and can be worn in accordance to the event Outfit to be attended, and according to the number of events to be held.

Introduction Social media has created opportunities for children to gather social support online (Blackwell et al., 2016; Gonzales, 2017; Jackson, Bailey, & Foucault Welles, 2018; Khasawneh, Rogers, Bertrand, Madathil, & Gramopadhye, 2019; Ponathil, Agnisarman, Khasawneh, Narasimha, & Madathil, 2017). However, social media also has the potential to expose children and adolescents to undesirable behaviors. Research showed that social media can be used to harass, discriminate (Fritz & Gonzales, 2018), dox (Wood, Rose, & Thompson, 2018), and socially disenfranchise children (Page, Wisniewski, Knijnenburg, & Namara, 2018). Other research proposes that social media use might be correlated to the significant increase in suicide rates and depressive symptoms among children and adolescents in the past ten years (Mitchell, Wells, Priebe, & Ybarra, 2014). Evidence based research suggests that suicidal and unwanted behaviors can be promulgated through social contagion effects, which model, normalize, and reinforce self-harming behavior (Hilton, 2017). These harmful behaviors and social contagion effects may occur more frequently through repetitive exposure and modelling via social media, especially when such content goes “viral” (Hilton, 2017). One example of viral self-harming behavior that has generated significant media attention is the Blue Whale Challenge (BWC). The hearsay about this challenge is that individuals at all ages are persuaded to participate in self-harm and eventually kill themselves (Mukhra, Baryah, Krishan, & Kanchan, 2017). Research is needed specifically concerning BWC ethical concerns, the effects the game may have on teenagers, and potential governmental interventions. To address this gap in the literature, the current study uses qualitative and content analysis research techniques to illustrate the risk of self-harm and suicide contagion through the portrayal of BWC on YouTube and Twitter Posts. The purpose of this study is to analyze the portrayal of BWC on YouTube and Twitter in order to identify the themes that are presented on YouTube and Twitter posts that share and discuss BWC. In addition, we want to explore to what extent are YouTube videos compliant with safe and effective suicide messaging guidelines proposed by the Suicide Prevention Resource Center (SPRC). Method Two social media websites were used to gather the data: 60 videos and 1,112 comments from YouTube and 150 posts from Twitter. The common themes of the YouTube videos, comments on those videos, and the Twitter posts were identified using grounded, thematic content analysis on the collected data (Padgett, 2001). Three codebooks were built, one for each type of data. The data for each site were analyzed, and the common themes were identified. A deductive coding analysis was conducted on the YouTube videos based on the nine SPRC safe and effective messaging guidelines (Suicide Prevention Resource Center, 2006). The analysis explored the number of videos that violated these guidelines and which guidelines were violated the most. The inter-rater reliabilities between the coders ranged from 0.61 – 0.81 based on Cohen’s kappa. Then the coders conducted consensus coding. Results & Findings Three common themes were identified among all the posts in the three social media platforms included in this study. The first theme included posts where social media users were trying to raise awareness and warning parents about this dangerous phenomenon in order to reduce the risk of any potential participation in BWC. This was the most common theme in the videos and posts. Additionally, the posts claimed that there are more than 100 people who have played BWC worldwide and provided detailed description of what each individual did while playing the game. These videos also described the tasks and different names of the game. Only few videos provided recommendations to teenagers who might be playing or thinking of playing the game and fewer videos mentioned that the provided statistics were not confirmed by reliable sources. The second theme included posts of people that either criticized the teenagers who participated in BWC or made fun of them for a couple of reasons: they agreed with the purpose of BWC of “cleaning the society of people with mental issues,” or they misunderstood why teenagers participate in these kind of challenges, such as thinking they mainly participate due to peer pressure or to “show off”. The last theme we identified was that most of these users tend to speak in detail about someone who already participated in BWC. These videos and posts provided information about their demographics and interviews with their parents or acquaintances, who also provide more details about the participant’s personal life. The evaluation of the videos based on the SPRC safe messaging guidelines showed that 37% of the YouTube videos met fewer than 3 of the 9 safe messaging guidelines. Around 50% of them met only 4 to 6 of the guidelines, while the remaining 13% met 7 or more of the guidelines. Discussion This study is the first to systematically investigate the quality, portrayal, and reach of BWC on social media. Based on our findings from the emerging themes and the evaluation of the SPRC safe messaging guidelines we suggest that these videos could contribute to the spread of these deadly challenges (or suicide in general since the game might be a hoax) instead of raising awareness. Our suggestion is parallel with similar studies conducted on the portrait of suicide in traditional media (Fekete & Macsai, 1990; Fekete & Schmidtke, 1995). Most posts on social media romanticized people who have died by following this challenge, and younger vulnerable teens may see the victims as role models, leading them to end their lives in the same way (Fekete & Schmidtke, 1995). The videos presented statistics about the number of suicides believed to be related to this challenge in a way that made suicide seem common (Cialdini, 2003). In addition, the videos presented extensive personal information about the people who have died by suicide while playing the BWC. These videos also provided detailed descriptions of the final task, including pictures of self-harm, material that may encourage vulnerable teens to consider ending their lives and provide them with methods on how to do so (Fekete & Macsai, 1990). On the other hand, these videos both failed to emphasize prevention by highlighting effective treatments for mental health problems and failed to encourage teenagers with mental health problems to seek help and providing information on where to find it. YouTube and Twitter are capable of influencing a large number of teenagers (Khasawneh, Ponathil, Firat Ozkan, & Chalil Madathil, 2018; Pater & Mynatt, 2017). We suggest that it is urgent to monitor social media posts related to BWC and similar self-harm challenges (e.g., the Momo Challenge). Additionally, the SPRC should properly educate social media users, particularly those with more influence (e.g., celebrities) on elements that boost negative contagion effects. While the veracity of these challenges is doubted by some, posting about the challenges in unsafe manners can contribute to contagion regardless of the challlenges’ true nature.

Purpose. The aim of the publication is to promote the perspective of creating a health-conscious higher education. The results of the SMART goal-setting and SWOT analysis shows the mental health support group’s possibilities in higher education. The theoretical part of this article deals with those points of view and theories, which can be found in the international special literature about the mental health of the teenagers and in accordance with the central theme of the study.In the course of our practice we find out that the stress in the daily life of students is inevitable. There are many opportunities to organize various preventive programs, the creation of which offers the possibility for acqusition of effective coping strategies and prevents from the recording of harmful behaviour traits. The study emphasizes on the supporting power of the community. Since the human is a social being and the community is a secure-base for the teens, we should offer for our youth opportunities in which they find out a new perspective. The start of a mental health program called Mental Nest, organized on the base of the Ferenc Rákóczi II Transcarpathian Hungarian College of Higher Education, was an innovational initiation, since there was no precedent for starting such a mental health group from the existence of the college.Methods. On most of the support group sessions we followed the aspects of the training method, we worked with group-dynamics techniques, stress and conflict management exercises as well as effective communication activities and games. Based on the needs assessment, the media method was used during the movie watching. For the purpose of intervention we used art therapy exercises and projective drawing techniques. The evaluation of the mental health project was performed by impact assessment, SMART goal-setting and SWOT analysis.Results. We concentrated on a regular weekly meatings running for 8 weeks. The initiation of the support group was considered as a desired mental health project. In the article the evaluation was carried out also in this regard with the help of SMART goal- setting and SWOT analysis.According to the revealed needs we developed a further project to establish a mental health support group. The aim was to create a closed group on the base of our higher educational establishment, where the first-year students become emotionally strong, their self-esteem becomes more positive, thus enabling them to redistribute their energy effectively for coping with stress and conflicts. Conclusions. The success of the project is confirmed by the fact that it can be the first step of supports the concept of health-conscious higher education.Key words: mental health project, support group, stress management, community, SMART goal-setting and SWOT analysis, health-consious higher educational establishment. Мета – популяризація перспективи створення вищої інстанції з охорони психічного здоров’я. Результати SMART- та SWOT-аналізів демонструють можливості психологічних гуртків з урахуванням потреб вищого навчального закладу.У теоретичній частині даної статті розглядаються положення та теорії, які містяться у міжнародних виданнях, присвячених психічному здоров’ю підлітків та пов’язаних із головною темою дослідження. Упродовж нашої діяльності виявили, що для студентів щоденний стрес є неминучим явищем. Є багато можливостей для організації різних програм превентивного характеру, завдяки яким ми надаємо можливість для засвоєння ефективних стратегій подолання проблем, і разом з цим уникаючи фіксації негативних проявів поведінки молоді. Дослідження насамперед звертає увагу саме на той компонент, який підкреслює силу спільноти у підтримці особистості. Будучи істотою соціальною, для людей, а особливо для підлітків громада являється базою безпеки. Виходячи із цього, ми маємо запропонувати для нашої молоді можливості знайти нові перспективи. Започаткування програми з ментальної гігієни під назвою «Ментальне гніздо» на базі Закарпатського угорського інституту імені Ференца Ракоці ІІ має інноваційний характер, оскільки з часу заснування закладу ініціювання групи ментального здоров’я такого масштабу являється безпрецедентним. Методи. Під час проведення регулярних щотижневих зустрічей і групових занять використовували методи із застосуванням вправ на розвиток групової динаміки, на подолання комунікативних бар’єрів, управління стресом та конфліктами. Спираючись на оцінку потреб, використовувалися методи медіа-педагогіки при демонстрації фільмів із подальшим обговоренням побаченого у рамках групової форми роботи, а також застосувалися методи проектного аналізу малюнків, у якому використовуються можливості психологічної інтервенції. Оцінювання проекту з психічного здоров’я було проведено за допомогою оцінки психологічного впливу і SMART- та SWOT-аналізів.Результати. Ми зосереджувалися на регулярних одноразових зустрічах упродовж восьми тижнів. Започаткування групи підтримки розглядалось нами як бажаний проект з ментальної гігієни. Оцінка результатів проводилася також відповідно до цілей проекту, відображених за допомогою SMART- та SWOT-аналізів. Відповідно до виявлених потреб розроблено подальший проект зі створення групи підтримки з ментального здоров’я. Нашою метою було створити на базі нашого закладу вищої освіти таку закриту групу, де у студентів-першокурсників стабілізується емоційний стан, їхня самооцінка стає більш позитивною, завдяки чому вони зможуть краще перерозподілити свою енергію для подолання стресу та конфліктів. Висновки. Успіх проекту підтверджує той факт, що він може стати першим кроком на шляху до створення Інституту сприяння здоров’ю.Ключові слова: проект у сфері ментального здоров’я, група підтримки, управління стресом, спільнота, SMART- та SWOT-аналіз, заклад здорового способу життя.

Purpose This study aims to identify the critical factors affecting the perception of adolescent students toward interactive online mental health information available on health-related websites. Design/methodology/approach The primary data was collected with the help of an online self–structured questionnaire. The questionnaire includes the identified variables extracted from previous literature related to the mental health information websites using the Likert scale. The respondents include the adolescent school students belonging to the northern region of India: semi-urban/rural locations of Uttar Pradesh (Agra and Mathura) and urban cities (Faridabad, Gaziabad, Delhi and NCR). The criteria for selecting respondents were that students must have visited any online health information-related websites at least once. Exploratory factor analysis was used to explore the factors with the help of SPSS.20. Findings The identified factors that include information delivery medium/mode, websites’ navigation structure, customized information or content, ability to form a virtual relationship and supplementary features of the websites may benefit the health communication system of any country and the health-care industry. Research limitations/implications There are some limitations such as a limited number of respondents and even on that sample was taken for teenagers; thereby creating fewer generalizations related to the present context. Further, only exploratory factor analysis is applied in the study to identify the factors but future researchers may proceed to develop the conceptual model of perception toward online information with the help of confirmatory factor analysis and structural equation modeling techniques. Practical implications The results of this study are useful for government officials especially those related to the ministry of health care and public health organizations of various countries, who usually invest in co-designing authentic, reliable and high interactive online information-sharing websites. Social implications The results of the study will facilitate the various social child welfare associations and non-governmental organizations that are usually involved in the holistic development of adolescents. The identified factors can be seriously taken into considerations by these associations while they are formulating any on line websites for sharing health-related information to adolescents. Originality/value The study is unique as it provides insight into the opinion of the adolescent students, primarily upon encountering the online mental health information concerning the Indian perspective. Future researchers, health-care policymakers and health-care professionals may use the study to capture a complete picture of a relevant phenomenon in their work.

IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi-national youth-subculture brands such as Vice, American Apparel, Urban Outfitters and a plethora of localised variants.Korine’s film, which is made to resemble found VHS footage of old-aged vandals, epitomises the ironic, retro stylizations and “counterculture-meets-kitsch” aesthetics so familiar to hipster culture. As a creative stereotype from 1940s and ‘50s jazz and beatnik subcultures, the hipster re-emerged in the twenty-first century as a negative embodiment of alternative culture in the age of the Internet. As well as plumbing the recent past for things not yet incorporated into contemporary marketing mechanisms, the hipster also signifies the blurring of irony and authenticity. Such “outsiderness as insiderness” postures can be regarded as a continuation of the marginality-from-the-centre logic of cool capitalism that emerged after World War Two. Particularly between 2007 and 2015, the post-postmodern concept of the hipster was a resonant cultural trope in Western and non-Western cultures alike, coinciding with the normalisation of the new digital terrain and the establishment of mobile social media as an integral aspect of many people’s daily lives. While Korine’s 79-minute feature could be thought of as following in the schlocky footsteps of the likes of Rob Zombie’s The Devil’s Rejects (2006), it is decidedly more arthouse, and more attuned to the influence of contemporary alternative media brands and independent film history alike – as if the love child of Jack Smith’s Flaming Creatures (1963) and Vice Video, the latter having been labelled as “devil-may-care hipsterism” (Carr). Upon release, Trash Humpers was described by Gene McHugh as “a mildly hip take on Jackass”; by Mike D’Angelo as “an empty hipster pose”; and by Aaron Hillis as either “the work of an insincere hipster or an eccentric provocateur”. Lacking any semblance of a conventional plot, Trash Humpers essentially revolves around four elderly-looking protagonists – three men and a woman – who document themselves with a low-quality video camera as they go about behaving badly in the suburbs of Nashville, Tennessee, where Korine still lives. They cackle eerily to themselves as they try to stave off boredom, masturbating frantically on rubbish bins, defecating and drinking alcohol in public, fellating foliage, smashing televisions, playing ten-pin bowling, lighting firecrackers and telling gay “hate” jokes to camera with no punchlines. In one purposefully undramatic scene half-way through the film, the humpers are shown in the aftermath of an attack on a man wearing a French maid’s outfit; he lies dead in a pool of blood on their kitchen floor with a hammer at his feet. The humpers are consummate “bad” performers in every sense of the term, and they are joined by a range of other, apparently lower-class, misfits with whom they stage tap dance routines and repetitively sing nursery-rhyme-styled raps such as: “make it, make it, don’t break it; make it, make it, don’t fake it; make it, make it, don’t take it”, which acts as a surrogate theme song for the film. Korine sometimes depicts his main characters on crutches or in a wheelchair, and a baby doll is never too far away from the action, as a silent and Surrealist witness to their weird, sinister and sometimes very funny exploits. The film cuts from scene to scene as if edited on a video recorder, utilising in-house VHS titling sequences, audio glitches and video static to create the sense that one is engaging voyeuristically with a found video document rather than a scripted movie. Mainstream AlternativesAs a viewer of Trash Humpers, one has to try hard to suspend disbelief if one is to see the humpers as genuine geriatric peeping Toms rather than as hipsters in old-man masks trying to be rebellious. However, as Korine’s earlier films such as Gummo (1997) attest, he clearly delights in blurring the line between failure and transcendence, or, in this case, between pretentious art-school bravado and authentic redneck ennui. As noted in a review by Jeannette Catsoulis, writing for the New York Times: “Much of this is just so much juvenile posturing, but every so often the screen freezes into something approximating beauty: a blurry, spaced-out, yellow-green landscape, as alien as an ancient photograph”. Korine has made a career out of generating this wavering uncertainty in his work, polarising audiences with a mix of critical, cinema-verité styles and cynical exploitations. His work has consistently revelled in ethical ambiguities, creating environments where teenagers take Ritalin for kicks, kill cats, wage war with their families and engage in acts of sexual deviancy – all of which are depicted with a photographer’s eye for the uncanny.The elusive and contradictory aspects of Korine’s work – at once ugly and beautiful, abstract and commercial, pessimistic and nostalgic – are evident not just in films such as Gummo, Julien Donkey Boy (1999) and Mister Lonely (2007) but also in his screenplay for Kids (1995), his performance-like appearances on The Tonight Show with David Letterman (1993-2015) and in publications such as A Crackup at the Race Riots (1998) and Pass the Bitch Chicken (2001). As well as these outputs, Korine is also a painter who is represented by Gagosian Gallery – one of the world’s leading art galleries – and he has directed numerous music videos, documentaries and commercials throughout his career. More than just update of the traditional figure of the auteur, Korine, instead, resembles a contemporary media artist whose avant-garde and grotesque treatments of Americana permeate almost everything he does. Korine wrote the screenplay for Kids when he was just 19, and subsequently built his reputation on the paradoxical mainstreaming of alternative culture in the 1990s. This is exemplified by the establishment of music and film genres such “alternative” and “independent”; the popularity of the slacker ethos attributed to Generation X; the increased visibility of alternative press zines; the birth of grunge in fashion and music; and the coining of “cool hunting” – a bottom-up market research phenomenon that aimed to discover new trends in urban subcultures for the purpose of mass marketing. Key to “alternative culture”, and its related categories such as “indie” and “arthouse”, is the idea of evoking artistic authenticity while covertly maintaining a parasitic relationship with the mainstream. As Holly Kruse notes in her account of the indie music scenes of the 1990s, which gained tremendous popularity in the wake of grunge bands such as Nirvana: without dominant, mainstream musics against which to react, independent music cannot be independent. Its existence depends upon dominant music structures and practices against which to define itself. Indie music has therefore been continually engaged in an economic and ideological struggle in which its ‘outsider’ status is re-examined, re-defined, and re-articulated to sets of musical practices. (Kruse 149)Alternative culture follows a similar, highly contentious, logic, appearing as a nebulous, authentic and artistic “other” whose exponents risk being entirely defined by the mainstream markets they profess to oppose. Kids was directed by the artist cum indie-director Larry Clark, who discovered Korine riding his skateboard with a group of friends in New York’s Washington Square in the early 1990s, before commissioning him to write a script. The then subcultural community of skating – which gained prominence in the 1990s amidst the increased visibility of “alternative sports” – provides an important backdrop to the film, which documents a group of disaffected New York teenagers at a time of the Aids crisis in America. Korine has been active in promoting the DIY ethos, creativity and anti-authoritarian branding of skate culture since this time – an industry that, in its attempts to maintain a non-mainstream profile while also being highly branded, has become emblematic of the category of “alternative culture”. Korine has undertaken commercial projects with an array skate-wear brands, but he is particularly associated with Supreme, a so-called “guerrilla fashion” label originating in 1994 that credits Clark and other 1990s indie darlings, and Korine cohorts, Chloë Sevigny and Terry Richardson, as former models and collaborators (Williams). The company is well known for its designer skateboard decks, its collaborations with prominent contemporary visual artists, its hip-hop branding and “inscrutable” web videos. It is also well known for its limited runs of new clothing lines, which help to stoke demand through one-offs – blending street-wear accessibility with the restricted-market and anti-authoritarian sensibility of avant-garde art.Of course, “alternative culture” poses a notorious conundrum for analysis, involving highly subjective demarcations of “mainstream” from “subversive” culture, not to mention “genuine subversion” from mere “corporate alternatives”. As Pierre Bourdieu has argued, the roots of alternative culture lie in the Western tradition of the avant-garde and the “aesthetic gaze” that developed in the nineteenth century (Field 36). In analysing the modernist notion of advanced cultural practice – where art is presented as an alternative to bourgeois academic taste and to the common realm of cultural commodities – Bourdieu proposed a distinction between two types of “fields”, or logics of cultural production. Alternative culture follows what Bourdieu called “the field of restricted production”, which adheres to “art for art’s sake” ideals, where audiences are targeted as if like-minded peers (Field 50). In contrast, the “field of large-scale production” reflects the commercial imperatives of mainstream culture, in which goods are produced for the general public at large. The latter field of large-scale production tends to service pre-established markets, operating in response to public demand. Furthermore, whereas success in the field of restricted production is often indirect, and latent – involving artists who create niche markets without making any concessions to those markets – success in the field of large-scale production is typically more immediate and quantifiable (Field 39). Here we can see that central to the branding of “alternative culture” is the perceived refusal to conform to popular taste and the logic of capitalism more generally is. As Supreme founder James Jebbia stated about his brand in a rare interview: “The less known the better” (Williams). On this, Bourdieu states that, in the field of restricted production, the fundamental principles of all ordinary economies are inversed to create a “loser wins” scenario (Field 39). Profit and cultural esteem become detrimental attributes in this context, potentially tainting the integrity and marginalisation on which alternative products depend. As one ironic hipster t-shirt puts it: “Nothing is any good if other people like it” (Diesel Sweeties).Trash HipstersIn abandoning linear narrative for rough assemblages of vignettes – or “moments” – recorded with an unsteady handheld camera, Trash Humpers positions itself in ironic opposition to mainstream filmmaking, refusing the narrative arcs and unwritten rules of Hollywood film, save for its opening and closing credits. Given Korine’s much publicized appreciation of cinema pioneers, we can understand Trash Humpers as paying homage to independent and DIY film history, including Jack Smith’s Flaming Creatures, William Eggleston’s Stranded in Canton (1973), Andy Warhol’s and Paul Morrissey’s Lonesome Cowboys (1967) and Trash (1970), and John Waters’s Pink Flamingos (1972), all of which jubilantly embraced the “bad” aesthetic of home movies. Posed as fantasized substitutions for mainstream movie-making, such works were also underwritten by the legitimacy of camp as a form of counter-culture critique, blurring parody and documentary to give voice to an array of non-mainstream and counter-cultural identities. The employment of camp in postmodern culture became known not merely as an aesthetic subversion of cultural mores but also as “a gesture of self-legitimation” (Derrida 290), its “failed seriousness” regarded as a critical response to the specific historical problem of being a “culturally over-saturated” subject (Sontag 288).The significant difference between Korine’s film and those of his 1970s-era forbears is precisely the attention he pays to the formal aspects of his medium, revelling in analogue editing glitches to the point of fetishism, in some cases lasting as long as the scenes themselves. Consciously working out-of-step with the media of his day, Trash Humpers in imbued with nostalgia from its very beginning. Whereas Smith, Eggleston, Warhol, Morrissey and Waters blurred fantasy and documentary in ways that raised the social and political identities of their subjects, Korine seems much more interested in “trash” as an aesthetic trope. In following this interest, he rightfully pays homage to the tropes of queer cinema, however, he conveniently leaves behind their underlying commentaries about (hetero-) normative culture. A sequence where the trash humpers visit a whorehouse and amuse themselves by smoking cigars and slapping the ample bottoms of prostitutes in G-strings confirms the heterosexual tenor of the film, which is reiterated throughout by numerous deadpan gay jokes and slurs.Trash Humpers can be understood precisely in terms of Korine’s desire to maintain the aesthetic imperatives of alternative culture, where formal experimentation and the subverting of mainstream genres can provide a certain amount of freedom from explicated meaning, and, in particular, from socio-political commentary. Bourdieu rightly points out how the pleasures of the aesthetic gaze often manifest themselves curiously as form of “deferred pleasure” (353) or “pleasure without enjoyment” (495), which corresponds to Immanuel Kant’s notion of the disinterested nature of aesthetic judgement. Aesthetic dispositions posed in the negative – as in the avant-garde artists who mined primitive and ugly cultural stereotypes – typically use as reference points “facile” or “vulgar” (393) working-class tropes that refer negatively to sensuous pleasure as their major criterion of judgment. For Bourdieu, the pleasures provided by the aesthetic gaze in such instances are not sensual pleasures so much as the pleasures of social distinction – signifying the author’s distance from taste as a form of gratification. Here, it is easy to see how the orgiastic central characters in Trash Humpers might be employed by Korine for a similar end-result. As noted by Jeremiah Kipp in a review of the film: “You don't ‘like’ a movie like Trash Humpers, but I’m very happy such films exist”. Propelled by aesthetic, rather than by social, questions of value, those that “get” the obscure works of alternative culture have a tendency to legitimize them on the basis of the high-degree of formal analysis skills they require. For Bourdieu, this obscures the fact that one’s aesthetic “‘eye’ is a product of history reproduced by education” – a privileged mode of looking, estranged from those unfamiliar with the internal logic of decoding presupposed by the very notion of “aesthetic enjoyment” (2).The rhetorical priority of alternative culture is, in Bourdieu’s terms, the “autonomous” perfection of the form rather than the “heteronomous” attempt to monopolise on it (Field 40). However, such distinctions are, in actuality, more nuanced than Bourdieu sometimes assumed. This is especially true in the context of global digital culture, which makes explicit how the same cultural signs can have vastly different meanings and motivations across different social contexts. This has arguably resulted in the destabilisation of prescriptive analyses of cultural taste, and has contributed to recent “post-critical” advances, in which academics such as Bruno Latour and Rita Felski advocate for cultural analyses and practices that promote relationality and attachment rather than suspicious (critical) dispositions towards marginal and popular subjects alike. Latour’s call for a move away from the “sledge hammer” of critique applies as much to cultural practice as it does to written analysis. Rather than maintaining hierarchical oppositions between authentic versus inauthentic taste, Latour understands culture – and the material world more generally – as having agency alongside, and with, that of the social world.Hipsters with No AlternativeIf, as Karl Spracklen suggests, alternativism is thought of “as a political project of resistance to capitalism, with communicative oppositionality as its defining feature” (254), it is clear that there has been a progressive waning in relevance of the category of “alternative culture” in the age of the Internet, which coincides with the triumph of so-called “neoliberal individualism” (258). To this end, Korine has lost some of his artistic credibility over the course of the 2000s. If viewed negatively, icons of 1990s alternative culture such as Korine can be seen as merely exploiting Dada-like techniques of mimetic exacerbation and symbolic détournement for the purpose of alternative, “arty” branding rather than pertaining to a counter-hegemonic cultural movement (Foster 31). It is within this context of heightened scepticism surrounding alternative culture that the hipster stereotype emerged in cultures throughout the world, as if a contested symbol of the aesthetic gaze in an era of neoliberal identity politics. Whatever the psychological motivations underpinning one’s use of the term, to call someone a hipster is typically to point out that their distinctive alternative or “arty” status appears overstated; their creative decisions considered as if a type of bathos. For detractors of alternative cultural producers such as Korine, he is trying too hard to be different, using the stylised codes of “alternative” to conceal what is essentially his cultural and political immaturity. The hipster – who is rarely ever self-identified – re-emerged in the 2000s to operate as a scapegoat for inauthentic markers of alternative culture, associated with men and women who appear to embrace Realpolitik, sincerity and authentic expressions of identity while remaining tethered to irony, autonomous aesthetics and self-design. Perhaps the real irony of the hipster is the pervasiveness of irony in contemporary culture. R. J Magill Jnr. has argued that “a certain cultural bitterness legitimated through trenchant disbelief” (xi) has come to define the dominant mode of political engagement in many societies since the early 2000s, in response to mass digital information, twenty-four-hour news cycles, and the climate of suspicion produced by information about terrorism threats. He analyses the prominence of political irony in American TV shows including The Daily Show with Jon Stewart, The Simpsons, South Park, The Chappelle Show and The Colbert Report but he also notes its pervasiveness as a twenty-first-century worldview – a distancing that “paradoxically and secretly preserves the ideals of sincerity, honesty and authenticity by momentarily belying its own appearance” (x). Crucially, then, the utterance “hipster” has come to signify instances when irony and aesthetic distance are perceived to have been taken too far, generating the most disdain from those for whom irony, aesthetic discernment and cultural connoisseurship still provide much-needed moments of disconnection from capitalist cultures drowning in commercial hyperbole and grave news hype. Korine himself has acknowledged that Spring Breakers (2013) – his follow-up feature film to Trash Humpers – was created in response to the notion that “alternative culture”, once a legitimate challenge to mainstream taste, had lost its oppositional power with the decentralization of digital culture. He states that he made Spring Breakers at a moment “when there’s no such thing as high or low, it’s all been exploded. There is no underground or above-ground, there’s nothing that’s alternative. We’re at a point of post-everything, so it’s all about finding the spirit inside, and the logic, and making your own connections” (Hawker). In this context, we can understand Trash Humpers as the last of the Korine films to be branded with the authenticity of alternative culture. In Spring Breakers Korine moved from the gritty low-fi sensibility of his previous films and adopted a more digital, light-filled and pastel-coloured palette. Focussing more conventionally on plot than ever before, Spring Breakers follows four college girls who hold up a restaurant in order to fund their spring break vacation. Critic Michael Chaiken noted that the film marks a shift in Korine’s career, from the alternative stylings of the pre-Internet generation to “the cultural heirs [of] the doomed protagonists of Kids: nineties babies, who grew up with the Internet, whose sensibilities have been shaped by the sweeping technological changes that have taken place in the interval between the Clinton and Obama eras” (33).By the end of the 2000s, an entire generation came of age having not experienced a time when the obscure films, music or art of the past took more effort to track down. Having been a key participant in the branding of alternative culture, Korine is in a good position to recall a different, pre-YouTube time – when cultural discernment was still caught up in the authenticity of artistic identity, and when one’s cultural tastes could still operate with a certain amount of freedom from sociological scrutiny. Such ideas seem a long way away from today’s cultural environments, which have been shaped not only by digital media’s promotion of cultural interconnection and mass information, but also by social media’s emphasis on mobilization and ethical awareness. ConclusionI should reiterate here that is not Korine’s lack of seriousness, or irony, alone that marks Trash Humpers as a response to the scepticism surrounding alternative culture symbolised by the figure of the hipster. It is, rather, that Korine’s mock-documentary about juvenile geriatrics works too hard to obscure its implicit social commentary, appearing driven to condemn contemporary capitalism’s exploitations of youthfulness only to divert such “uncool” critical commentaries through unsubtle formal distractions, visual poetics and “bad boy” avant-garde signifiers of authenticity. Before being bludgeoned to death, the unnamed man in the French maid’s outfit recites a poem on a bridge amidst a barrage of fire crackers let off by a nearby humper in a wheelchair. Although easily overlooked, it could, in fact, be a pivotal scene in the film. Spoken with mock high-art pretentions, the final lines of the poem are: So what? Why, I ask, why? Why castigate these creatures whose angelic features are bumping and grinding on trash? Are they not spawned by our greed? Are they not our true seed? Are they not what we’ve bought for our cash? We’ve created this lot, of the ooze and the rot, deliberately and unabashed. Whose orgiastic elation and one mission in creation is to savagely fornicate TRASH!Here, the character’s warning of capitalist overabundance is drowned out by the (aesthetic) shocks of the fire crackers, just as the stereotypical hipster’s ethical ideals are drowned out by their aesthetic excess. The scene also functions as a metaphor for the humpers themselves, whose elderly masks – embodiments of nostalgia – temporarily suspend their real socio-political identities for the sake of role-play. It is in this sense that Trash Humpers is too enamoured with its own artifices – including its anonymous “boys club” mentality – to suggest anything other than the aesthetic distance that has come to mark the failings of the “alternative culture” category. In such instances, alternative taste appears as a rhetorical posture, with Korine asking us to gawk knowingly at the hedonistic and destructive pleasures pursued by the humpers while factoring in, and accepting, our likely disapproval.ReferencesArsel, Zeynep, and Craig J. Thompson. “Demythologizing Consumption Practices: How Consumers Protect Their Field-Dependent Identity Investments from Devaluing Marketplace Myths.” Journal of Consumer Research 37.5 (2011): 791-806.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge: Harvard University Press, 1984.Bourdieu, Pierre. The Field of Cultural Production Essays on Art and Literature. Edited by Randal Johnson. London: Polity Press, 1993.Carr, David. “Its Edge Intact, Vice Is Chasing Hard News.” New York Times 24 Aug. 2014. 12 Nov. 2016 <https://www.nytimes.com/2014/08/25/business/media/its-edge-intact-vice-is-chasing-hard-news-.html>.Catsoulis, Jeannette. “Geriatric Delinquents, Rampaging through Suburbia.” New York Times 6 May 2010. 1` Nov. 2016 <http://www.nytimes.com/2010/05/07/movies/07trash.html>.Chaiken, Michael. “The Dream Life.” Film Comment (Mar./Apr. 2013): 30-33.D’Angelo, Mike. “Trash Humpers.” Not Coming 18 Sep. 2009. 12 Nov. 2016 <http://www.notcoming.com/reviews/trashhumpers>.Derrida, Jacques. Positions. London: Athlone, 1981.Diesel Sweeties. 1 Nov. 2016 <https://store.dieselsweeties.com/products/nothing-is-any-good-if-other-people-like-it-shirt>.Felski, Rita. The Limits of Critique. Chicago: University of Chicago Press, 2015.Greif, Mark. What Was the Hipster? A Sociological Investigation. New York: n+1 Foundation, 2010.Hawker, Philippa. “Telling Tales Out of School.” Sydney Morning Herald 4 May 2013. 12 Nov. 2016 <http://www.smh.com.au/entertainment/movies/telling-tales-out-of-school-20130503-2ixc3.html>.Hillis, Aaron. “Harmony Korine on Trash Humpers.” IFC 6 May 2009. 12 Nov. 2016 <http://www.ifc.com/2010/05/harmony-korine-2>.Jay Magill Jr., R. Chic Ironic Bitterness. Ann Arbor: University of Michigan Press, 2007.Kipp, Jeremiah. “Clean Off the Dirt, Scrape Off the Blood: An Interview with Trash Humpers Director Harmony Korine.” Slant Magazine 18 Mar. 2011. 1 Nov. 2016 <http://www.slantmagazine.com/house/article/clean-off-the-dirt-scrape-off-the-blood-an-interview-with-trash-humpers-director-harmony-korine>.Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004): 225-248.Maly, Ico, and Varis, Piia. “The 21st-Century Hipster: On Micro-Populations in Times of Superdiversity.” European Journal of Cultural Studies 19.6 (2016): 637–653.McHugh, Gene. “Monday May 10th 2010.” Post Internet. New York: Lulu Press, 2010.Ouellette, Marc. “‘I Know It When I See It’: Style, Simulation and the ‘Short-Circuit Sign’.” Semiotic Review 3 (2013): 1–15.Reeve, Michael. “The Hipster as the Postmodern Dandy: Towards an Extensive Study.” 2013. 12 Nov. 2016. <http://www.academia.edu/3589528/The_hipster_as_the_postmodern_dandy_towards_an_extensive_study>.Schiermer, Bjørn. “Late-Modern Hipsters: New Tendencies in Popular Culture.” Acta Sociologica 57.2 (2014): 167–181.Sontag, Susan. “Notes on Camp.” Against Interpretation. New York: Octagon, 1964/1982. 275-92. Stahl, Geoff. “Mile-End Hipsters and the Unmasking of Montreal’s Proletaroid Intelligentsia; Or How a Bohemia Becomes BOHO.” Adam Art Gallery, Apr. 2010. 12 May 2015 <http://www.adamartgallery.org.nz/wp-content/uploads/2010/04/adamartgallery_vuwsalecture_geoffstahl.pdf>.Williams, Alex. “Guerrilla Fashion: The Story of Supreme.” New York Times 21 Nov. 2012. 1 Nov. 2016 <http://www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html>.Žižek, Slavoj. “L’Etat d’Hipster.” Rhinocerotique. Trans. Henry Brulard. Sep. 2009. 3-10.

IntroductionAccounts of mentoring relationships inevitably draw attention to hierarchies of expertise, knowledge and learning. While public concerns about both the risks and benefits for young people of social media, little attention has been given to the nature of the mentoring role that parents and families play alongside of schools. This conceptual paper explores models of mentorship in the context of family dynamics as they are affected by social media use. This is a context that explicitly disrupts hierarchical structures of mentoring in that new media, and particularly social media use, tends to be driven by youth cultural practices, identity formation, experimentation and autonomy-seeking practices (see for example: Robards; boyd; Campos-Holland et al.; Hodkinson). A growing body of research supports the notion that young people are more skilled in navigating social media platforms than their parents (FOSI; Campos-Holland et al.). This research establishes that uncertainty and tension derived from parents’ impression that their children know more about social media they do (FOSI; Sorbring) has brought about a market for advice and educational programs. In the content of this paper it is notable that when family dynamics and young people’s social media use are addressed through notions of digital citizenship or cyber safety programs, a hierarchical mentorship is assumed, but also problematised; thus the expertise hierarchy is inverted. This paper argues that use of social media platforms, networks, and digital devices challenges traditional hierarchies of expertise in family environments. Family members, parents and children in particular, are involved in ongoing, complex conversations and negotiations about expertise in relation to technology and social media use. These negotiations open up an alternative space for mentorship, challenging traditional roles and suggesting the need for cooperative processes. And this, in turn, can inspire new ways of relating with and through social media and mobile technologies within the family.Inverting Expertise: Social Media, Family and MentoringSocial media are deeply embedded in everyday routines for the vast majority of the population. The emergence of the ‘networked society’, characterised by increasing and pervasive digital and social connectivity, has the potential to create new forms of social interactions within and across networks (Rainie and Wellman), but also to reconfigure intergenerational and family relations. In this way, social media introduces new power asymmetries that affect family dynamics and in particular relationships between young people and their parents. This relatively new mediated environment, by default, exposes young people to social contexts well beyond family and immediate peers making their lived experiences individual, situational and contextual (Swist et al.). The perceived risks this introduces can provoke tensions within families looking to manage those uncertain social contexts, in the process problematising traditional structures of mentorship. Mentoring is a practice predominantly understood within educational and professional workplace settings (Ambrosetti and Dekkers). Although different definitions can be found across disciplines, most models position a mentor as a more experienced knowledge holder, implying a hierarchical relationship between a mentor and mentee (Ambrosetti and Dekkers). Stereotypically, a mentor is understood to be older, wiser and more experienced, while a mentee is, in turn, younger and in need of guidance – a protégé. Alternative models of mentorship see mentoring as a reciprocal process (Eby, Rhodes and Allen; Naweed and Ambrosetti).This “reciprocal” perspective on mentorship recognises the opportunity both sides in the process have to contribute and benefit from the relationship. However, in situations where one party in the relationship does not have the expected knowledge, skills or confidence, this reciprocity becomes more difficult. Thus, as an alternative, asymmetrical or cooperative mentorship lies between the hierarchical and reciprocal (Naweed and Ambrosetti). It suggests that the more experienced side (whichever it is) takes a lead while mentoring is negotiated in a way that meets both sides’ needs. The parent-child relationship is generally understood in hierarchical terms. Traditionally, parents are considered to be mentors for their children, particularly in acquiring new skills and facilitating transitions towards adult life. Such perspectives on parent-child relationships are based on a “deficit” approach to youth, “whereby young people are situated as citizens-in-the-making” (Collin). Social media further problematises the hierarchical dynamic with the role of knowledge holder varying between and within the family members. In many contemporary mediated households, across developed and wealthy nations, technologically savvy children are actively tailoring their own childhoods. This is a context that requires a reconceptualisation of traditional mentoring models within the family context and recognition of each stakeholder’s expertise, knowledge and agency – a position that is markedly at odds with traditional deficit models. Negotiating Social Media Use within the FamilyIn the early stages of the internet and social media research, a generational gap was often at the centre of debates. Although highly contested, Prensky’s metaphor of digital natives and digital immigrants persists in both the popular media and academic literature. This paradigm portrays young people as tech savvy in contrast with their parents. However, such assumptions are rarely grounded in empirical evidence (Hargittai). Nonetheless, while parents are active users of social media, they find it difficult to negotiate social media use with their children (Sorbring). Some studies suggest that parental concerns arise from impressions that their children know more about social media than they do (FOSI; Wang, Bianchi and Raley). Additionally, parental concern with a child’s social media use is positively correlated with the child’s age; parents of older children are less confident in their skills and believe that their child is more digitally skillful (FOSI). However, it may be more productive to understand social media expertise within the family as shared: intermittently fluctuating between parents and children. In developed and wealthy countries, children are already using digital media by the age of five and throughout their pre-teen years predominantly for play and learning, and as teenagers they are almost universally avid social media users (Nansen; Nansen et al.; Swist et al.). Smartphone ownership has increased significantly among young people in Australia, reaching almost 80% in 2015, a proportion nearly identical to the adult population (Australian Communications and Media Authority). In addition, most young people are using multiple devices switching between them according to where, when and with whom they connect (Australian Communications and Media Authority). The locations of internet use have also diversified. While the home remains the most common site, young people make use of mobile devices to access the internet at school, friend’s homes, and via public Wi-Fi hotspots (Australian Communications and Media Authority). As a result, social media access and engagement has become more frequent and personalised and tied to processes of socialisation and well-being (Sorbring; Swist et al.). These developments have been rapid, introducing asymmetry into the parent-child mentoring dynamic along with family tensions about rules, norms and behaviours of media use. Negotiating an appropriate balance between emerging autonomy and parental oversight has always featured as a primary parenting challenge and social media seem to have introduced a new dimension in this context. A 2016 Pew report on parents, teens, and digital monitoring reveals that social media use has become central to the establishment of family rules and disciplinary practices, with over two thirds of parents reporting the use of “digital grounding” as punishment (Pew). As well as restricting social media use, the majority of parents report limiting the amount of time and times of day their children can be online. Interestingly, while parents engage in a variety of hands-on approaches to monitoring and regulating children’s social media use, they are less likely to use monitoring software, blocking/filtering online content, tracking locations and the like (Pew). These findings suggest that parents may lack confidence in technology-based restrictions or prefer pro-active, family based approaches involving discussion about appropriate social media use. This presents an opportunity to explore how social media produces new forms of parent-child relationships that might be best understood through the lens of cooperative models of mentorship. Digital Parenting: Technological and Pedagogical Interventions Parents along with educators and policy makers are looking for technological solutions to the knowledge gap, whether perceived or real, associated with concerns regarding young people’s social media use. Likewise, technology and social media companies are rushing to develop and sell advice, safety filters and resources of all kinds to meet such parental needs (Clark; McCosker). This relatively under-researched field requires further exploration and dissociation from the discourse of risk and fear (Livingstone). Furthermore, in order to develop opportunities modelled on concepts of cooperative mentoring, such programs and interventions need to move away from hierarchical assumptions about the nature of expertise within family contexts. As Collin and Swist point out, online campaigns aimed at addressing young people and children’s safety and wellbeing “are often still designed by adult ‘experts’” (Collin and Swist). A cooperative mentoring approach within family contexts would align with recent use of co-design or participatory design within social and health research and policy (Collin and Swist). In order to think through the potential of cooperative mentorship approaches in relation to social media use within the family, we examine some of the digital resources available to parents.Prominent US cyber safety and digital citizenship program Cyberwise is a commercial website founded by Diana Graber and Cynthia Lieberman, with connections to Verizon Wireless, Google and iKeepSafe among many other partnerships. In addition to learning resources around topics like “Being a Responsible Citizen of the Digital World”, Cyberwise offers online and face to face workshops on “cyber civics” in California, emphasising critical thinking, ethical discussion and decision making about digital media issues. The organisation aims to educate and support parents and teachers in their endeavor to guide young people in civil and safe social media use. CyberWise’s slogan “No grown up left behind!”, and its program of support and education is underpinned by and maintains the notion of adults as lacking expertise and lagging behind young people in digital literacy and social media skills. In the process, it introduces an additional level of expertise in the cyber safety expert and software-based interventions. Through a number of software partners, CyberWise provides a suite of tools that offer parents some control in preventing cyberbullying and establishing norms for cyber safety. For example, Frienedy is a dedicated social media platform that fosters a more private mode of networking for closed groups of mutually known people. It enables users to control completely what they share and with whom they share it. The tool does not introduce any explicit parental monitoring mechanisms, but seeks to impose an exclusive online environment divested of broader social influences and risks – an environment in which parents can “introduce kids to social media on their terms when they are ready”. Although Frienedy does not explicitly present itself as a monitoring tool, it does perpetuate hierarchical forms of mentorship and control for parents. On the other hand, PocketGuardian is a parental monitoring service for tracking children’s social media use, with an explicit emphasis on parental control: “Parents receive notification when cyberbullying or sexting is detected, plus resources to start a conversation with their child without intruding child’s privacy” (the software notifies parents when it detects an issue but without disclosing the content). The tool promotes its ability to step in on behalf of parents, removing “the task of manually inspecting your child's device and accounts”. The software claims that it analyses the content rather than merely catching “keywords” in its detection algorithms. Obviously, tools such as PocketGuardian reflect a hierarchical mentorship model (and recognise the expertise asymmetry) by imposing technological controls. The software, in a way, fosters a fear of expertise deficiency, while enabling technological controls to reassert the parent-child hierarchy. A different approach is exemplified by the Australian based Young and Well Cooperative Research Centre, a “living lab” experiment – this is an overt attempt to reverse deliberate asymmetry. This pedagogical intervention, initially taking the form of an research project, involved four young people designing and delivering a three-hour workshop on social networking and cyber safety for adult participants (Third et al.). The central aim was to disrupt the traditional way adults and young people relate to each other in relation to social media and technology use and attempted to support learning by reversing traditional roles of adult teacher and young student. In this way ‘a non-hierarchical space of intergenerational learning’ was created (Third et al.). The result was to create a setting where intergenerational conversation helped to demystify social media and technology, generate familiarity with sites, improve adult’s understanding of when they should assist young people, and deliver agency and self-efficacy for the young people involved (7-8). In this way, young people’s expertise was acknowledged as a reflection of a cooperative or asymmetrical mentoring relationship in which adult’s guidance and support could also play a part. These lessons have been applied and developed further through a participatory design approach to producing apps and tools such as Appreciate-a-mate (Collin and Swist). In that project “the inclusion of young people’s contexts became a way of activating and sustaining attachments in regard to the campaign’s future use”(313).In stark contrast to the CyberWise tools, the cooperative mentoring (or participatory design) approach, exemplified in this second example, has multiple positive outcomes: first it demystifies social media use and increases understanding of the role it plays in young people’s (and adults’) lives. Second, it increases adults’ familiarity and comfort in navigating their children’s social media use. Finally, for the young people involved, it supports a sense of achievement and acknowledges their expertise and agency. To build sustainability into these processes, we would argue that it is important to look at the family context and cooperative mentorship as an additional point of intervention. Understood in this sense, cooperative and asymmetrical mentoring between a parent and child echoes an authoritative parenting style which is proven to have the best outcome for children (Baumrind), but in a way that accommodates young people’s technology expertise.Both programs analysed target adults (parents) as less skilful than young people (their children) in relation to social media use. However, while first case study, the technology based interventions endorses hierarchical model, the Living Lab example (a pedagogical intervention) attempts to create an environment without hierarchical obstacles to learning and knowledge exchange. Although the parent-child relationship is indubitably characterised by the hierarchy to some extent, it also assumes continuous negotiation and role fluctuation. A continuous process, negotiation intensifies as children age and transition to more independent media use. In the current digital environment, this negotiation is often facilitated (or even led) by social media platforms as additional agents in the process. Unarguably, digital parenting might implicate both technological and pedagogical interventions; however, there should be a dialogue between the two. Without presumed expertise roles, non-hierarchical, cooperative environment for negotiating social media use can be developed. Cooperative mentorship, as a concept, offers an opportunity to connect research and practice through participatory design and it deserves further consideration.ConclusionsPrevailing approaches to cyber safety education tend to focus on risk management and in doing so, they maintain hierarchical forms of parental control. Adhering to such methods fails to acknowledge young people’s expertise and further deepens generational misunderstanding over social media use. Rather than insisting on hierarchical and traditional roles, there is a need to recognise and leverage asymmetrical expertise within the family in regards to social media.Cooperative and asymmetrical mentorship happens naturally in the family and can be facilitated by and through social media. The inverted hierarchy of expertise we have described here puts both parents and children, in a position of constant negotiation over social media use. This negotiation is complex, relational, unpredictable, open toward emergent possibilities and often intensive. Unquestionably, it is clear that social media provides opportunities for negotiation over, and inversion of, traditional family roles. Whether this inversion of expertise is real or only perceived, however, deserves further investigation. This article formulates some of the conceptual groundwork for an empirical study of family dynamics in relation to social media use and rulemaking. The study aims to continue to probe the positive potential of cooperative and asymmetrical mentorship and participatory design concepts and practices. The idea of cooperative mentorship does not necessarily provide a universal solution to how families negotiate social media use, but it does provide a new lens through which this dynamic can be observed. Clearly family dynamics, and the parent-child relationship, in particular, can play a vital part in supporting effective digital citizenship and wellbeing processes. Learning about this spontaneous and natural process of family negotiations might equip us with tools to inform policy and practices that can help parents and children to collaboratively create ‘a networked world in which they all want to live’ (boyd). ReferencesAmbrosetti, Angelina, and John Dekkers. "The Interconnectedness of the Roles of Mentors and Mentees in Pre-Service Teacher Education Mentoring Relationships." 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