社交媒體使用方式透露你是哪一種人
在社交媒體上，你要么是一個潛伏者，要么是個極客，要么是網紅，要么是個受害者。
That's according to scientists who claim that we fall into one of four 'online personalities' when using sites such as Facebook and Twitter.
科學家表示，用戶使用臉書和推特等社交網站時可以分為四大“網絡人格”。
And according to their research, more young people are opting to be 'lurkers' and 'geeks' by reducing what they share online in an effort to avoid being a 'victim'.
研究顯示，為了避免淪為“受害者”，更多的年輕人選擇做“潛伏者”和“極客”，減少自己在網上分享的內容。
The study was led by Dr Liam Berriman and Professor Rachel Thomson from the University of Sussex.
來自蘇塞克斯大學的利亞姆·貝里曼博士和瑞秋·湯姆森教授開展了這項研究。
The scientists studied the online activity and visibility of children aged between ten and 15.
科學家們研究了10到15歲少年的網上活動和可見度。
Dr Berriman said: 'Our research found that concerns about staying safe online created an atmosphere of intense anxiety for young people, even if they had not directly experienced any problems themselves.
貝里曼博士說：“我們的研究發(fā)現(xiàn)，對網上活動可能會威脅人身安全的擔心讓年輕人普遍感到強烈焦慮，即使他們沒有直接經歷過任何相關問題。”
'The young people we spoke to felt a great weight of responsibility for their safety online and were often motivated by the concern of being labelled a victim.'
“受訪年輕人認為要對自己在網上的安全負責，而且常常害怕會淪為受害者。”
The desire for safety and protection from the dangers of the web has led many young people to experiment with invisibility online. 出于對安全的渴求，為了保護自己遠離網絡危險，許多年輕人嘗試在網上“隱身”。
The academics used two measures to find their groups: participation and visibility.
科學家用兩個指標來定義不同人群：參與度和可見度。
The geek has high participation but low visibility; the internet celeb has high participation and high visibility; the victim with low participation but high visibility; and the lurker who has low participation and low visibility.
極客參與度很高，但能見度很低;網絡紅人參與度和能見度都很高;受害者參與度低，但能見度高;潛伏者參與度和能見度都低。
The 'lurker' is described as someone who avoids confrontation in public forums and prefers closed group chats.
“潛伏者”被描述為在公共論壇中避免直接對話，更喜歡封閉的小組聊天。
They are also prone to stalking their favourite music bands online.
他們更傾向于在網上偷偷關注自己喜歡的樂隊。
The 'geek', meanwhile, uses invisibility to anonymously share and promote their amateur media creations online, such as music videos or fan fiction writing.
此外，“極客”會在網上匿名分享和推廣他們的業(yè)余媒體創(chuàng)作，比如音樂視頻或粉絲小說。
The academics described how the geeks' long hours of labour on projects risked parental concern that their behaviour was obsessive or addictive.
研究人員表示，極客在這些項目上花的大把時間可能會讓父母擔憂他們上網成癮。
'While there has been a lot of negative media coverage around teenagers' interaction with social media, our findings are more hopeful that teenagers are responsible users of social media, are very conscious of the dangers and make considerable efforts to protect themselves against those risks,' said Dr Berriman.
貝里曼博士說：“盡管關于青少年運用社交媒體有很多負面的媒體報道，但我們的研究可喜地發(fā)現(xiàn)，青少年是有責任心的社交媒體用戶，他們非常清楚網絡的危險，并積極努力地保護自己，規(guī)避這些風險。”
Despite the moves being made by some young people to live a safe and secure cyber existence, some young adults still find themselves in trouble.
盡管一些年輕人會采取行動保證自己在網絡空間中的安全，但仍有一些年輕成人會陷入麻煩。
The 'victim' group includes cyber-bullying sufferers and also people left to suffer personal exposure and shame following the creation and display of intimate material.
這些“受害者”包括遭受網絡欺凌的人，還有在制作和展示私密內容后被曝光個人生活并因此受辱的人。
The highly-visible victim can be a consequence of being part of the fourth group - the internet celeb.
能見度高的受害者可能是由于身為第四類人——網絡紅人。
The 'internet celeb' is fuelled by a desire to make a living from social media and offers complete transparency into their lives through vlogs or other social media platforms.
“網絡紅人”想靠社交媒體來謀生，將自己的生活通過視頻博客等社交媒體平臺完全透明地展示給眾人。
These people are highly active and highly-visible and, if they are not careful, can result in victimisation.
這些人非?；钴S，能見度也很高，如果不小心的話，就會淪為受害者。
Professor Rachel Thomson, professor of childhood and youth studies at the University of Sussex, said: 'What is distinctive about these active social media users was the entrepreneurial character of their practice, with 'play' re-envisaged as a form of economically rewarding work.
蘇塞克斯大學童年和青年學教授瑞秋·湯姆森說：“這些活躍的社交媒體用戶的不同之處在于他們運用社交媒體的創(chuàng)業(yè)性，在別人眼里只是玩玩，在他們眼里卻是有經濟回報的工作。”
'By gaining an audience, young people are aware that they could capture advertising and corporate sponsorship. The dream is to 'go viral', establishing a career as a cultural creator.'
“通過拉攏一群觀眾，這些年輕人意識到他們可以抓住做廣告和拉贊助的機會。他們的夢想就是‘病毒式傳播’，從而作為文化內容創(chuàng)作者干一番事業(yè)。”
The research has been published in the book titled Researching Everyday Childhoods.
該研究報告發(fā)表在《日常童年研究》一書中。
