MS 10 FInal Exam

promise of Web 2.0

- Access to production + peer-to-peer sharing = participatory culture - content is easy to share & modify // changes understandings do authorship - Demystifies the production process - Less reliance on traditional media - Democratization of authorship, info, & culture

"forms of placemaking" (Ito et al.)

- Cocooning: Shelter from engagement or killing time - Camping: Temporary workplaces such as cafes - Footprinting: Public places try to create a relationship with people such as free wifi, rewards or personal relationships with employees.

planned obsolescence

- Design logic: making a product w/a limited useful lifespan requiring consumers to buy a new version (I.e Iphone) - Marketing logic: Encouraging customers to purchase newer version not because older is not function, but because it is "outdated" 1. PRO: strives for improvement and innovation 2. CON: added expense, frustration, waste

video game spectatorship (Witkowski)

- Esports = institutional, regulated elite gaming tournaments video games always about being player + spectator of play - Adopts "spectacle" of trad sports + other media events - Live streaming a means of monetizing spectatorship & and sustaining career through drawing power - SO: esports pleasure = reminder of gameplay + team loyalties

console games & spatial convergence

- Focus on immersive play & the games space - GOAL: fully absorb your attn - RESULT: "avatarial introjection" of identity in game space avatar as "me", "I" , "mine" - Status & nice things for avatar - Feeling a personal connection to other characters

components of mobile gaming (Steirer & Barnes)

- Hardware and Software: The physical devices (like smartphones and tablets) and the software (operating systems, game apps) that facilitate mobile gaming. - Game Design: This involves the mechanics, aesthetics, and narratives of mobile games, which are often tailored for short, engaging play sessions suitable for on-the-go gaming. - Monetization Strategies: Mobile games frequently use models like in-app purchases, advertisements, and freemium content to generate revenue. - Social Integration: Many mobile games incorporate social features, allowing players to connect, compete, or collaborate with others. - Portability and Accessibility: The ability to play games anytime and anywhere, and the ease of access to a wide range of games, are key components of mobile gaming. - User Experience: The overall experience of mobile gaming, which includes user interface design, ease of control, and the integration of gaming into daily life.

game & player spaces

- gameplay accessibility (story & gaming mechanics) - Software accessibility (avail through a variety of devices) - Everyday ubiquity (encourages daily play) - Variable monetization (esp. "free to play" with ads &/or in-app "micro transactions") - AND: reduced Barriers to entry for developers

sensor society (Andrejevic and Burdon)

1. techs are sensors tracking events & states - always on - Passive interactivity 2. new form of data collection & storage (for powerful institutions) - immediate needs + info for future analysis - Specific individuals + larger usage patterns - AND: current privacy laws unequipped to handle such pervasive undirected use

state surveillance

: "An inscrutable info ecosystem of massive corporate & state surveillance" - massive & precise data gathering on ppl through less-than-visible means - GOAL: abstracted from the mechanisms of surveillance ppl are comfortabke sharing their interest & activities - RESULT: ppl "reveal themselves:" to commercial & state interests

definitions of surveillance & personal traces

: MCNs can shape YT itself as a "textual space" - sign & "professionalize" YTers form easily monetizable genres (& not others) - Metadata application expertise to increase algorithmic visibility - Cross-promotion between clients - collab with different YTers - Partnerships with brands - SO: intermediaiaries privilege some video makers/ types of contents & not others

reputation managementˋ

: Managing out privacy in different social contexts through controlling self-exposure - BUT: one's persona/reputation varies with different intended audience - AND: many platforms encourage maximum contacts & sharing - SO: managing out privacy/audiences online can be fraught + time-consuming

costs of Web 2.0

: Participatory culture frames as fun but it's a form work under corporation platforms - users are unwanted // mandatory content licensing - Subject to ads & data collection - Recommendation features steer users to promoted content - SO: users may be participatory but that doesn't mean they're powerful

influencers

: Small-scale, entrepreneurial content producers - author consistent popularcintebt (in views & subs) - Relatable "micro celebrities " with intimate, DIY aesthetic - Must navigate Web 2.0 tech + social + economics

viral video (Burgess)

: Videos that grow popular through rapid user-led networked distribution - commercially or non-commercially motivated - Have "hooks" that encourage spreadability (include replicable ideas) - EX: Chocolate rain YouTube cover - SO: viral video & memes are networked practice, not separated texts

SST before, tech, after

ANALYZE: Before = social circumstances Tech = possibilities & constraints '/ social structures disrupted or reinforced After = actual practice Before (Social Circumstances): This stage involves understanding the social circumstances that exist prior to the introduction of a new technology. It examines the societal needs, cultural dynamics, existing technological landscape, and the potential demand for new technology. Tech (Possibilities and Constraints): This stage focuses on the technology itself, including its design, capabilities, limitations, and the way it might disrupt or reinforce existing social structures. It's about the inherent "logics" of the technology that influence but don't deterministically dictate its use. After (Actual Practice): The final stage looks at how the technology is actually used in practice, which may differ from its intended use. It considers the adaptation, integration, and impact of the technology within the societal context, observing how it becomes part of daily life and whether it meets, exceeds, or falls short of its anticipated effects.

Web 2.0

OPERATES: - technologically: open platforms geared towards interactivity & sharing - Socially: a result of the desires to create & circulate knowledge & culture - Economically: to do all of this in a way that is monetizable

spatial convergence & its three forms

Spatial convergence: Blurring boundaries between public/private and physical/virtual spaces 1. Privatized mobility Bringing your home with you 2. We can bring our personalized media anywhere we go i.e own laptop/phone can be used anywhere - Ambient Awareness 1. Comms Techs "ubiquitous connectivity" to maintain a sense of connection 2. Our phones are always on, always connected, so we always get a sense of connection with others no matter how far they may be -Net locality 1."Location-aware" mobile media merges with local influencing mobility such as geographical location and character of location 2. If a place has good/bad reviews, has good food, or good/bad service are all aspects that impact a character of location -Public into Private: This form of spatial convergence involves the intrusion of public life into private spaces. For example, through smartphones and the internet, individuals can engage in public activities, like social media interactions or work-related communications, from the privacy of their homes. -Private into Public: Conversely, this involves bringing private activities into public spaces. With mobile devices, people can engage in private conversations, watch personal videos, or browse intimate content in public areas, essentially creating private bubbles in public settings. -Physical into Virtual (and vice versa): This form refers to the integration of physical and virtual spaces. For instance, augmented reality (AR) applications blend physical surroundings with digital information. Similarly, people navigating a city using digital maps on their phones illustrate this convergence.

k-pop hybridity (Jin)

混雜合 Definition and Explanation: Genre: K-pop hybridity involves a combination of traditional Korean musical elements with a range of international pop styles. Composers/Producers: Producers and composers from various cultural backgrounds contribute to the creation of K-pop, bringing a mix of influences. Language: K-pop often incorporates multiple languages, predominantly Korean but also English and others, to appeal to a broader audience. Dance: The dance styles in K-pop are a fusion of traditional Korean and contemporary international dance forms. Fashion/Style: K-pop artists often adopt a unique blend of Korean and international fashion trends. Significance: K-pop hybridity illustrates the "playfulness" that comes with hybridizing different cultural elements. It represents a cultural dialogue between local and global influences and showcases globalization's impact on the music industry. Comparison, Contrast, and Relation: Compared to traditional music genres, K-pop hybridity is more dynamic and adaptable, reflecting a wide range of cultural influences. This hybridity contrasts with music that strictly adheres to a single cultural or national identity, as K-pop deliberately targets a global audience. The concept relates to broader themes of cultural globalization, where local identities interact with and are transformed by global influences.

China's "going out" policy (Keane & Zhang)

Definition and Explanation: Government Assistance: This policy involves the Chinese government's support for media internationalization, aimed at enhancing China's cultural security. Goals: The primary goals are to compete in the global marketplace and to disseminate positive messages internationally through cultural diplomacy. Collaboration: It includes collaboration with other East Asian and Western producers while maintaining cultural security. Significance: The policy represents China's strategic approach to extend its cultural influence and soft power globally. It signifies a shift from focusing on domestic cultural production to actively engaging in the global media landscape. Comparison, Contrast, and Relation: This policy contrasts with more insular cultural approaches, as it actively seeks international engagement. It relates to global trends in media and cultural production, where nations use media as a tool for soft power and international influence. Examples: Collaborative projects between Chinese media companies and foreign partners, where Chinese cultural elements are incorporated into internationally appealing content. The export of Chinese television formats and films, adapted to appeal to both regional and global audiences, while retaining essential elements of Chinese culture​

Audience segmentation & segment types

Definition and Explanation: Multiple proximities refer to the varied levels at which audiences connect with media content. These levels include cultural, linguistic, geographical, and historical proximities. It's not just about the physical closeness but also about cultural and emotional resonance with the content. Significance: This concept is significant because it acknowledges that audience preferences are complex and multifaceted. It challenges the notion that audiences only prefer content from their immediate cultural or national background. Comparison, Contrast, and Relation: Multiple proximities differ from the traditional idea of cultural proximity, which suggests audiences prefer content from their own culture or language. It complements the concept of K-pop hybridity (Jin), as both deal with how global and local elements interplay in media. Examples: An Italian audience might find a Brazilian telenovela appealing due to shared cultural elements (like Catholic traditions) despite the geographical and linguistic differences. Similarly, K-pop's global appeal can be attributed to its hybrid nature, resonating with audiences on multiple levels beyond just language or geographic origin

technological determinism

Definition and Explanation: Technological determinism is the theory that technology is the central force in shaping and transforming society. It posits that technological development drives social and cultural change and that technology fundamentally changes how individuals think and interact. Significance: This concept is significant because it highlights the powerful role of technology in societal evolution. It suggests that technological advancements can lead to both utopian and dystopian outcomes, affecting all aspects of life. Comparison, Contrast, and Relation: Technological determinism contrasts with theories that emphasize human agency in shaping technology, suggesting instead that technology itself directs societal change. It relates to Marshall McLuhan's idea that "the medium is the message," which implies that the nature of a medium embeds itself in the message, creating a symbiotic relationship by which the medium influences how the message is perceived. Examples: The advent of the internet and social media has transformed how people communicate, access information, and perceive the world, supporting the idea of technological determinism. The development of television changed not only entertainment but also political communication, exemplifying how new technologies can reshape societal structures and processes

changing discourses on mobile media

Definition and Explanation: The discourse has evolved from viewing mobile media as simply communication tools to recognizing them as integral parts of our social interactions, identity formation, and engagement with the world. It encompasses how mobile media have become embedded in daily routines, altering perceptions of space, time, and social interactions. Significance: This change in discourse reflects the growing importance of mobile media in shaping contemporary social, cultural, and economic practices. It highlights how mobile media are not just tools but also active participants in creating and mediating experiences and meanings. Comparison, Contrast, and Relation: Earlier discourses on mobile media often focused on their technical capabilities and utility as communication devices. The contemporary discourse, in contrast, emphasizes the role of mobile media in cultural and social processes, such as spatial convergence, placemaking, and identity construction. Examples: The concept of "mobile kits" (Ito et al.) and "forms of placemaking" (Ito et al.) illustrate how mobile media contribute to personalizing and shaping our interactions with physical spaces. The rise of mobile gaming (Steirer & Barnes) and video game spectatorship (Witkowski) demonstrate how mobile media create new forms of entertainment and engagement. This shift in discourse underscores the complex and evolving role of mobile media in contemporary society, going beyond mere communication to shaping experiences and social realities

"the medium is the message" (McLuhan)

Focuses on how media expands on our senses rather than the content of the media It implies that the medium itself (like television, radio, print, etc.) plays a critical role in shaping and controlling the scale and form of human association and action. - Significance: The phrase highlights the importance of the medium over the actual content it carries. The characteristics of the medium determine the nature of the communication more than the content itself. This concept has far-reaching implications for understanding how different media affect society and culture. - Comparison, Contrast, and Relation: This idea contrasts with more traditional views where the focus is primarily on the content of communication rather than the medium through which it is conveyed. It relates to the concept of technological determinism, as both theories emphasize the powerful role of technology (or the medium) in shaping human experience and society. - Examples: The rise of television as a medium changed the way news is delivered and perceived, focusing more on visual elements rather than detailed narratives, which were more common in print journalism. Social media platforms like Twitter, with their emphasis on short, concise messages, shape the way information is shared and discussed, prioritizing brevity and immediacy over depth and detail​

"mobile kits" (Ito et al.)

What "Mobile kits" do we take with us to fill our time and needs? I.e "the essentials" - PRIMARY kits: Always take with us such as phone, keys, wallet, etc - SECONDARY kits: when we work/study such as laptop, snacks, notes etc - Someone commuting on a train using their smartphone to participate in a work conference call, while also carrying a tablet for personal entertainment. - A student in a café using a laptop for studies, headphones for music, and a smartphone for social connectivity, effectively creating a personal workspace in a public setting.