Chinese, Mandarin

Spanish

English

Hindi

Arabic

Portuguese

Bengali

Russian

Japanese

Punjabi

German

Javanese

Malay

Telugu

Vietnamese

Korean

French

Marathi

Tamil

Urdu

Turkish

Italian

Chinese, Yue / Cantonese

Thai

Gujarati

Chinese, Jin

Chinese, Min Nan

Persian, Dari

Persian, Western

Polish

Pashto

Kannada

Chinese, Xiang

Malayalam

Sundanese

Hausa

Odia

Burmese

Chinese, Hakka

Ukrainian

Bihari, Bhojpuri

Tagalog

Yoruba

Bihari, Maithili

Uzbek

Sindhi

Amharic

Fula

Romanian

Oromo

Igbo

Azerbaijani

Chinese, Gan

Dutch

Kurdish, Central

Kurdish, Northern

Kurdish, Southern

Malagasy

Lahnda, Saraiki

Nepali

Sinhalese

Chittagonian

Zhuang

Khmer

Turkmen

Assamese

Madurese

Somali

Marwari

Bihari, Magahi

Haryanvi

Hungarian

Chhattisgarhi

Greek, Modern

Chewa

Dakhini

Akan, Twi

Akan, Fante

Kazakh

Chinese, Min Bei

Sylheti

Zulu

Czech

Kinyarwanda

Marwari, Dhundhari

Haitian Creole

Chinese, Min Dong

Ilocano

Quechua

Kirundi

Swedish

Hmong

Shona

Uyghur

Hiligaynon

Mossi

Xhosa

Belarusian

Balochi

Sociology

<OpenstaxFigure id="import-auto-id1169033059639" src="https://openstax.org/apps/archive/20240226.174525/resources/a79242ac1453b6a73aad8ee51a9834b32a20f08f" alt="Many people stand with their hands and phones held up at a rock concert." mediaType="image/png" width="1100" height="619" />
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	<strong>Figure 8.1</strong> Music fans connect in ways that overcome geographic, socioeconomic, and political differences. (Credit: whataleydude/flickr)
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	When a celebrity announces that they are quitting social media, it’s big news (especially on social media). Depending on the star’s status and their reason for leaving, the decision is met with a blend of astonishment, dismay, concern for the individual or others they affect, and discussion about larger problems like bullying or online toxicity.
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	Why do they quit? Their reasons vary, and many eventually return. Lizzo left Twitter after claiming there were “too many trolls.” Lorde indicated that the stress of continual updates, “having front-row seats to the hellfire” necessitated a break (Kirkpatrick 2020). Other artists, like Coldplay, never formally deactivated their accounts, but went for long periods of inactivity. Rhianna took a six month hiatus; Justin Bieber and Adele also went without for some time. No matter what the reason, if a popular artist quits social media, a slew of articles and interviews will focus on the decision and the reasons behind it.
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	What makes these decisions newsworthy? A person deciding not to use a particular app doesn’t affect our day-to-day life. Or does it? What if that person shared intimate aspects of their life, offering a sense of connection to their followers? What if the singer provided continual updates on the progress of their new album, or gave their followers a better chance of meeting them? What if that singer posted or liked new remixes or playlists of their material, giving their fans new music to try? 
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	Beyond the relationship with the artist, the social media presence gives fans a sense of community. Recall the discussion of groups. In traditional terms, a musician’s fanbase would be a secondary group: The group creates community, but the members aren’t close and are unlikely to serve expressive functions. But social media can easily turn that secondary group into a primary one. Follow a Reddit thread about a new video, and you’ll see dozens of people who seem to know each other well, who affirm or argue with each other along familiar lines, as if they’re cousins reuniting over a dinner table. They’ve never met in person and probably never will, but they may know intimate details about each other's lives; they’ve shared ups and downs in the manner similar to a local, close-knit group.
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	Selena Gomez has had a complicated relationship with social media. She has announced several times that she is quitting, and went through periods of regular downtime. She’s indicated that many of her updates are posted from friends’ devices. “As soon as I became the most followed person on Instagram,” she said, “I sort of freaked out. It had become so consuming to me. It’s what I woke up to and went to sleep to. I was an addict, and it felt like I was seeing things I didn’t want to see, like it was putting things in my head that I didn’t want to care about” (Haskell 2017).
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	This chapter will further explore the relationships, opportunities, and issues related to media and technology. While the specific products and platforms may quickly grow out of date, consider the larger implications of group dynamics, culture, socialization, and stratification as they relate to the ways we communicate and connect, and the old and new technologies that are meant to help us.
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8 Media and Technology

1 An Introduction to Sociology

1.1 What Is Sociology?

1.1.1 What Are Society and Culture?

1.1.2 Studying Patterns: How Sociologists View Society

1.1.3 Studying Part and Whole: How Sociologists View Social Structures

1.2 The History of Sociology

1.2.1 Creating a Discipline: European Theorists

1.2.2 Applying the Discipline: American Theorists and Practitioners

1.3 Theoretical Perspectives in Sociology

1.3.1 Functionalism

1.3.2 Conflict Theory

1.3.3 Symbolic Interactionist Theory

1.3.4 Sociological Theory Today

1.4 Why Study Sociology?

1.4.1 Sociology and a Better Society

1.4.2 Sociology in the Workplace

2 Sociological Research

2.1 Approaches to Sociological Research

2.1.1 The Scientific Method

2.1.2 Interpretive Framework

2.1.3 Critical Sociology

2.2 Research Methods

2.2.1 Surveys

2.2.2 Field Research

2.2.3 Experiments

2.2.4 Secondary Data Analysis

2.3 Ethical Concerns

3 Culture

3.1 What Is Culture?

3.1.1 Cultural Universals

3.1.2 Ethnocentrism and Cultural Relativism

3.2 Elements of Culture

3.2.1 Values and Beliefs

3.2.2 Norms

3.2.3 Symbols and Culture

3.2.4 Language and Symbols

3.2.5 Language and Culture

3.3 High, Low, Pop, Sub, Counter-culture and Cultural Change

3.3.1 High, Low, and Popular Culture

3.3.2 Subculture and Counterculture

3.3.3 Cultural Change

3.4 Theoretical Perspectives on Culture

4 Society and Social Interaction

4.1 Types of Societies

4.1.1 Preindustrial Societies

4.1.2 Industrial Society

4.1.3 Postindustrial Society

4.2 Theoretical Perspectives on Society

4.2.1 Émile Durkheim and Functionalism

4.2.2 Karl Marx and Conflict Theory

4.2.3 Max Weber and Symbolic Interactionism

4.3 Social Constructions of Reality

4.3.1 Roles and Status

4.3.2 Presentation of Self

5 Socialization

5.1 Theories of Self-Development

5.1.1 Psychological Perspectives on Self-Development

5.1.2 Sociological Theories of Self-Development

5.2 Why Socialization Matters

5.2.1 Nature versus Nurture

5.3 Agents of Socialization

5.3.1 Social Group Agents

5.3.2 Institutional Agents

5.4 Socialization Across the Life Course

5.4.1 Resocialization

6 Groups and Organization

6.1 Types of Groups

6.1.1 Defining a Group

6.1.2 Types of Groups

6.1.3 In-Groups and Out-Groups

6.1.4 Reference Groups

6.2 Group Size and Structure

6.2.1 Dyads, Triads, and Large Groups

6.2.2 Group Leadership

6.2.3 Conformity

6.2.4 The Bystander Effect and Diffusion of Responsibility

6.3 Formal Organizations

6.3.1 Types of Formal Organizations

6.3.2 The McDonaldization of Society

7 Deviance, Crime, and Social Control

7.1 Deviance and Control

7.1.1 Deviance, Crime, and Society

7.1.2 Social Control

7.2 Theoretical Perspectives on Deviance and Crime

7.2.1 Functionalism

7.2.2 Conflict Theory

7.2.3 Symbolic Interactionism

7.3 Crime and the Law

7.3.1 Types of Crimes

7.3.2 Crime Statistics

7.3.3 Public Perception of Crime

7.3.4 The U.S. Criminal Justice System

8.1 Technology Today

8.1.1 What Is Technology?

8.2 Media and Technology in Society

8.2.1 Categorizing Technology

8.2.2 Types of Media and Technology

8.2.3 Product Advertising and the Attention Economy

8.2.4 Homogenization and Fragmentation