“…To sum up, in short, the Tirumandiram is a work, whch deals with how one may live a divine life in the midst of the worldly one. It fulfills the meaning of the word “Tantra” a “web” which joins the spiritual and the material dimensions of life. It expresses the thread of unity, which exists behind the many differences of time, country, language, caste, religion, higher and lower, happiness and misery, wealth and poverty. It deals with all the aspects of life, which makes life worth-living by dealing with dharma, artha, kama, moksa, tapas, Yoga, jnana, siddhi, buddhi, mukti, planets, days, the art of breathing, mantra, tantra, yantra, cakras, meditation, medicine, et. In short, it is a Tamil encyclopedia of philosophical and spiritual wisdom rendered in verse form.”
As large-scale media visualizations from the Selfiecity database of images shot in five cities on four continents indicate, the selfie has become a truly transnational genre that is as much about placemaking as it is about the narrowcasting of particular faces and bodies. At the same time, the scholarly literature around this specific form of self-representation through closely distant mobile photography has struggled to keep up with theorizing emergent new media practices that utilize lenses, screens, mirrors, and armatures in novel ways and generate compositions with distinctive framing and posing that mark belonging to selfie taxonomies.