Pub Date : 2024-08-02DOI: 10.1177/13548565241267720
Miklós Kiss, David Hayes, Brendan Rooney
Historically 3D effect in film has been used as a relatively superficial aesthetic attraction. Here we consider and test the idea that 3D can be used to guide viewer attention and narrative interpretation in film. The current study used self-report measures in conjunction with eye-tracking technology to record attention, memory and narrative interpretation of 32 participants (25 female). Eye-gaze behaviour was recorded while half of the participants were randomly assigned to watch Michel Gondry’s The Green Hornet (2011) in 3D and the other half watched the same film in 2D. We concentrated on a particular moment where the use of 3D technology brings some aspects of the image to the forefront, such as a prop that might have narrative significance for the story as it unfolds. We were unable to confirm that 3D effect in Gondry’s film is effectively used to direct viewers’ visual attention towards narratively relevant information. Also, we found no evidence that the 3D version of Gondry’s film contributes to better memory or narrative interpretation of this particular scene. In discussing our findings, beyond the technical conditions of our eye-tracking research, we consider the role of film genre, narrative mode, viewers’ expectations and media literacy in shaping such visual attention and narrative interpretation.
电影中的 3D 效果历来被用作一种相对肤浅的美学吸引力。在此，我们考虑并测试了 3D 可用于引导观众注意力和电影叙事解读的观点。本研究采用自我报告测量法，结合眼动跟踪技术，记录了 32 名参与者（25 名女性）的注意力、记忆力和对叙事的理解。一半参与者被随机分配观看米歇尔-刚瑞（Michel Gondry）的《青蜂侠》（2011 年）3D 版，另一半参与者观看相同的 2D 版影片，我们记录了他们的注视行为。我们将注意力集中在某一特定时刻，在这一时刻，3D 技术的使用将画面的某些方面凸显出来，例如可能对故事发展具有叙事意义的道具。我们无法证实 Gondry 电影中的 3D 效果能有效地将观众的视觉注意力引向与叙事相关的信息。此外，我们也没有发现任何证据表明，贡德里的 3D 版本电影有助于更好地记忆或诠释这一特定场景。在讨论我们的研究结果时，除了眼动追踪研究的技术条件之外，我们还考虑了电影类型、叙事模式、观众期望和媒体素养在塑造这种视觉注意力和叙事解读方面的作用。
{"title":"Attention, memory, and narrative interpretation of Michel Gondry’s The Green Hornet: Comparing 2D and 3D film viewing using eye-tracking and self-report","authors":"Miklós Kiss, David Hayes, Brendan Rooney","doi":"10.1177/13548565241267720","DOIUrl":"https://doi.org/10.1177/13548565241267720","url":null,"abstract":"Historically 3D effect in film has been used as a relatively superficial aesthetic attraction. Here we consider and test the idea that 3D can be used to guide viewer attention and narrative interpretation in film. The current study used self-report measures in conjunction with eye-tracking technology to record attention, memory and narrative interpretation of 32 participants (25 female). Eye-gaze behaviour was recorded while half of the participants were randomly assigned to watch Michel Gondry’s The Green Hornet (2011) in 3D and the other half watched the same film in 2D. We concentrated on a particular moment where the use of 3D technology brings some aspects of the image to the forefront, such as a prop that might have narrative significance for the story as it unfolds. We were unable to confirm that 3D effect in Gondry’s film is effectively used to direct viewers’ visual attention towards narratively relevant information. Also, we found no evidence that the 3D version of Gondry’s film contributes to better memory or narrative interpretation of this particular scene. In discussing our findings, beyond the technical conditions of our eye-tracking research, we consider the role of film genre, narrative mode, viewers’ expectations and media literacy in shaping such visual attention and narrative interpretation.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"141 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141883747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/13548565241268013
Sebastian Randerath
Since the 2000s, so-called cloud computing infrastructures have had a profound impact on the capitalist relationship among labor, software, and organizations. This infrastructuring did not only affect the outsourcing of servers and databases but extends to the on-demand delivery of middleware and operating systems through so-called platforms-as-a-service (PaaS). As a result, the capitalist relationship between labor, organization, power, and software has shifted – both regarding the ways in which software development is organized and the ways in which work processes are organized through software. Such a shift is particularly evident in the development and application of so-called customer relationship management (CRM) software, which is used to plan and record sales and work processes. No longer limited to performance measurement and automated management within sales processes, the widely used Salesforce CRM software is leveraged to document and assess the work performance of employees meticulously, among other applications. To demonstrate how PaaS became central organizational media by reformatting labor and power asymmetries, the paper provides a critical analysis of the CRM software of Salesforce and the various actors and interfaces entangled with its PaaS. Thereby, the paper develops a critical media theoretical framework to analyze how the political economy of adapting PaaS is entangled with power dependencies between organizations and the labor of coding and implementing. Drawing on a platform historiographical analysis of Salesforce developer interfaces, the paper shows how organizational hierarchies and asymmetries manifest in the work of implementing specific sets of operational rules in software development (the work of formatting) and the platform capitalist standardization of work coordination in existing organizations (the formatting of work).
{"title":"Formatting work: Cloud platforms and the infrastructuring of capitalist asymmetries in software work","authors":"Sebastian Randerath","doi":"10.1177/13548565241268013","DOIUrl":"https://doi.org/10.1177/13548565241268013","url":null,"abstract":"Since the 2000s, so-called cloud computing infrastructures have had a profound impact on the capitalist relationship among labor, software, and organizations. This infrastructuring did not only affect the outsourcing of servers and databases but extends to the on-demand delivery of middleware and operating systems through so-called platforms-as-a-service (PaaS). As a result, the capitalist relationship between labor, organization, power, and software has shifted – both regarding the ways in which software development is organized and the ways in which work processes are organized through software. Such a shift is particularly evident in the development and application of so-called customer relationship management (CRM) software, which is used to plan and record sales and work processes. No longer limited to performance measurement and automated management within sales processes, the widely used Salesforce CRM software is leveraged to document and assess the work performance of employees meticulously, among other applications. To demonstrate how PaaS became central organizational media by reformatting labor and power asymmetries, the paper provides a critical analysis of the CRM software of Salesforce and the various actors and interfaces entangled with its PaaS. Thereby, the paper develops a critical media theoretical framework to analyze how the political economy of adapting PaaS is entangled with power dependencies between organizations and the labor of coding and implementing. Drawing on a platform historiographical analysis of Salesforce developer interfaces, the paper shows how organizational hierarchies and asymmetries manifest in the work of implementing specific sets of operational rules in software development (the work of formatting) and the platform capitalist standardization of work coordination in existing organizations (the formatting of work).","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"155 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-24DOI: 10.1177/13548565241265504
Michael L Wayne, Nahuel Ribke
Using Netflix’s weekly Global Top 10 lists for English-language and non-English-language series and films, this article highlights some of the ways in which the world’s most popular streaming platform misrepresents both the production and consumption of its most popular geographically diverse global content. First, the Global Top 10 lists create a series of false equivalencies between the popularity of English-language and non-English-language content that mask the difference in production budgets between the two categories. Second, Netflix’s publicized data isolates the global audience distribution of non-English-language content from other economic, technological, cultural, and political factors affecting local media ecosystems as demonstrated through an analysis of South Korea. Third, in failing to account for genre-related differences, the Global Top 10 lists distorts audience behavior in the Ibero-American region. Despite the variety of limitations presented by the incomplete audience data from Global Top 10 lists, when properly contextualized with recent academic research and economic information extracted from the specialized trade press publications, this article argues that the relationship between global streaming audiences and geographically diverse content is far more complex than it appears in the Netflix’s industrial discourses.
{"title":"Loved everywhere?: Netflix’s top 10 and the popularity of geographically diverse content","authors":"Michael L Wayne, Nahuel Ribke","doi":"10.1177/13548565241265504","DOIUrl":"https://doi.org/10.1177/13548565241265504","url":null,"abstract":"Using Netflix’s weekly Global Top 10 lists for English-language and non-English-language series and films, this article highlights some of the ways in which the world’s most popular streaming platform misrepresents both the production and consumption of its most popular geographically diverse global content. First, the Global Top 10 lists create a series of false equivalencies between the popularity of English-language and non-English-language content that mask the difference in production budgets between the two categories. Second, Netflix’s publicized data isolates the global audience distribution of non-English-language content from other economic, technological, cultural, and political factors affecting local media ecosystems as demonstrated through an analysis of South Korea. Third, in failing to account for genre-related differences, the Global Top 10 lists distorts audience behavior in the Ibero-American region. Despite the variety of limitations presented by the incomplete audience data from Global Top 10 lists, when properly contextualized with recent academic research and economic information extracted from the specialized trade press publications, this article argues that the relationship between global streaming audiences and geographically diverse content is far more complex than it appears in the Netflix’s industrial discourses.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"49 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13548565241265508
Hollis Griffin
This essay argues for the utility of a platform-studies approach alongside textual analysis when studying the politics of sexual representation in contemporary television programming. Using a corpus of four LGBTQ+-themed programs that represent queer and trans sexualities and HIV/AIDS, the paper argues that funding mechanisms play a constitutive role in determining the kinds of sexual diversity that can circulate via streaming technologies. Comparing and contrasting content created for SVODs, BVODs, and video-sharing platforms, the essay considers the impact that the economic diversity of television’s multiplatform ecology has on the sexual diversity of content that circulates there. Purposefully combining an analysis of online TV with social media entertainment, the essay casts ‘streaming television’ as a wide, varied category whose relationship to questions of representational diversity is more complex than existing scholarship on these issues sometimes suggests. Situating its analysis in the literatures of platform studies, media industry studies, and television’s politics of LGBTQ + representation, the essay shifts the purview of ‘diversity’ away from representations of identity and toward diversities of funding mechanisms and diversities of sexual acts and practices. The essay argues for the necessity of textual analysis to properly articulate the relationship between platforms and the politics of sexual representation in the content that they circulate.
{"title":"Sexual diversity and streaming television: Toward a platform studies approach to analyzing LGBTQ+ TV","authors":"Hollis Griffin","doi":"10.1177/13548565241265508","DOIUrl":"https://doi.org/10.1177/13548565241265508","url":null,"abstract":"This essay argues for the utility of a platform-studies approach alongside textual analysis when studying the politics of sexual representation in contemporary television programming. Using a corpus of four LGBTQ+-themed programs that represent queer and trans sexualities and HIV/AIDS, the paper argues that funding mechanisms play a constitutive role in determining the kinds of sexual diversity that can circulate via streaming technologies. Comparing and contrasting content created for SVODs, BVODs, and video-sharing platforms, the essay considers the impact that the economic diversity of television’s multiplatform ecology has on the sexual diversity of content that circulates there. Purposefully combining an analysis of online TV with social media entertainment, the essay casts ‘streaming television’ as a wide, varied category whose relationship to questions of representational diversity is more complex than existing scholarship on these issues sometimes suggests. Situating its analysis in the literatures of platform studies, media industry studies, and television’s politics of LGBTQ + representation, the essay shifts the purview of ‘diversity’ away from representations of identity and toward diversities of funding mechanisms and diversities of sexual acts and practices. The essay argues for the necessity of textual analysis to properly articulate the relationship between platforms and the politics of sexual representation in the content that they circulate.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"71 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13548565241265505
Yovanna Pineda
{"title":"Book review: Media ruins: Cambodian postwar media reconstruction and the geopolitics of technology","authors":"Yovanna Pineda","doi":"10.1177/13548565241265505","DOIUrl":"https://doi.org/10.1177/13548565241265505","url":null,"abstract":"","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"1 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13548565241264001
Sonia Bussu, Enric Senabre Hidalgo, Olivier Schulbaum, Zarah Eve
Public engagement, digital or in-person, is mostly adult-centric and ableist, often universalising the experience of participation of a narrow demographic (white, older and middle class). In Mindset Revolution we combined arts-based and creative methods with civic tech to co-design participatory spaces with a diverse group of young people, where to discuss and influence mental health policy and practice. The paper examines the digital element of the project, where young people, supported by a team of academics and digital designers, used the Decidim civic tech platform to engage with their peers and policymakers. This co-design work helped inform changes to the platform towards more accessible and margin-responsive participation that can better support active engagement of traditionally excluded groups. The young people evaluated their own participation and social impact, challenging assumptions about youth participation. The flexibility afforded by the digital platform was crucial to sustain engagement. However, although often branded as digital natives, the young people we worked with perceived digital participation as an enabler but not a central element of their work on social change. Follow-up work on the platform is shaping it as a space for collective oversight, with opportunities for open-ended dialogue between young people, the community and policymakers to identify and navigate barriers to implementation of young people’s proposals.
{"title":"Make (digital) space for and with the young: Arts-inspired co-design of civic tech for youth mental health policies","authors":"Sonia Bussu, Enric Senabre Hidalgo, Olivier Schulbaum, Zarah Eve","doi":"10.1177/13548565241264001","DOIUrl":"https://doi.org/10.1177/13548565241264001","url":null,"abstract":"Public engagement, digital or in-person, is mostly adult-centric and ableist, often universalising the experience of participation of a narrow demographic (white, older and middle class). In Mindset Revolution we combined arts-based and creative methods with civic tech to co-design participatory spaces with a diverse group of young people, where to discuss and influence mental health policy and practice. The paper examines the digital element of the project, where young people, supported by a team of academics and digital designers, used the Decidim civic tech platform to engage with their peers and policymakers. This co-design work helped inform changes to the platform towards more accessible and margin-responsive participation that can better support active engagement of traditionally excluded groups. The young people evaluated their own participation and social impact, challenging assumptions about youth participation. The flexibility afforded by the digital platform was crucial to sustain engagement. However, although often branded as digital natives, the young people we worked with perceived digital participation as an enabler but not a central element of their work on social change. Follow-up work on the platform is shaping it as a space for collective oversight, with opportunities for open-ended dialogue between young people, the community and policymakers to identify and navigate barriers to implementation of young people’s proposals.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"38 17 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13548565241264004
Alexa Scarlata, Andrew Lynch
The focus of most academic analysis of subscription video-on-demand (SVOD) services so far has been on “first tier” platforms like Netflix and Prime Video. These platforms are spending and charging significant amounts of money to adopt a generalist strategy that rhetorically disregards demographics . However, not all SVODs operate in this manner. This article will consider examples of second (subsidiary) and third (independent) tier SVODs for whom traditional demographic thinking remains fundamental to their core business model. We examine second tier service Hayu and third tier service Passionflix as female-targeted SVODs that represent a spectrum of approaches to gendered curation, from the online extension of reality programming long-linked to cable interests, to the production and promotion of softcore erotica SVOD originals. We combine analyses of catalogues, interfaces, marketing, paratexts, and original production to consider how SVODs conceptualise, address, and court female audiences in different ways.
迄今为止，学术界对订阅视频点播（SVOD）服务的分析大多集中在 Netflix 和 Prime Video 等 "一线 "平台上。这些平台花费巨资，采取不考虑人口统计的通才战略。然而，并非所有 SVOD 都以这种方式运营。本文将举例说明二线（附属）和三线（独立）SVOD，对它们来说，传统的人口统计思维仍然是其核心商业模式的基础。我们研究了第二级服务 Hayu 和第三级服务 Passionflix，它们是以女性为目标受众的 SVOD，代表了性别化策划的一系列方法，从与有线电视利益长期挂钩的真人秀节目的在线延伸，到软核色情 SVOD 原创节目的制作和推广。我们结合对目录、界面、营销、准文本和原创作品的分析，探讨 SVOD 如何以不同的方式构思、应对和吸引女性受众。
{"title":"Streaming women: Hayu, Passionflix and gendered demographics in subscription video-on-demand","authors":"Alexa Scarlata, Andrew Lynch","doi":"10.1177/13548565241264004","DOIUrl":"https://doi.org/10.1177/13548565241264004","url":null,"abstract":"The focus of most academic analysis of subscription video-on-demand (SVOD) services so far has been on “first tier” platforms like Netflix and Prime Video. These platforms are spending and charging significant amounts of money to adopt a generalist strategy that rhetorically disregards demographics . However, not all SVODs operate in this manner. This article will consider examples of second (subsidiary) and third (independent) tier SVODs for whom traditional demographic thinking remains fundamental to their core business model. We examine second tier service Hayu and third tier service Passionflix as female-targeted SVODs that represent a spectrum of approaches to gendered curation, from the online extension of reality programming long-linked to cable interests, to the production and promotion of softcore erotica SVOD originals. We combine analyses of catalogues, interfaces, marketing, paratexts, and original production to consider how SVODs conceptualise, address, and court female audiences in different ways.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"49 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-22DOI: 10.1177/13548565241265507
On Tai
{"title":"Book Review: Patching development: Information politics and social change in India","authors":"On Tai","doi":"10.1177/13548565241265507","DOIUrl":"https://doi.org/10.1177/13548565241265507","url":null,"abstract":"","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"31 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-19DOI: 10.1177/13548565241262421
Alexander O Smith, Jordan Loewen-Colón
Recent fears of data capitalism and colonialism often argue using implicit assumptions about cybernetic technology’s ability to automate data about culture. As such, the level of data granularity made possible by cybernetic engineering can be used to dominate society and culture. Here we unpack these implicit assumptions about the datafication of culture through memes, which both act as cultural data and cultural memory. Using Alexander Galloway’s critical method of protocological analysis and descriptions of media tactics, we respond to fears of cybernetic domination. Protocols – the source by which cybernetic technologies enable automated datafication – enables us to respond to fears with optimism, and it further enables a more extensive development of how memetic memory functions. Our development shows that memetic memory often emerges before cybernetic datafication, offering moments of resistance from cybernetic domination. Further, this development enables a vitalist development of memetic memory, borrowing from Bergsonian theory and related contemporary media theories. Such a work contributes by providing cybernetic context in which culture, characterized through memes, resists cybernetic domination. In the process of this contribution, it also contributes a novel theory of memetic memory. Inspired by recent posthuman new media theory, we provide a novel reading of Richard Dawkins’ genetically inspired meme as well as Limor Shifman’s notion of memetic ‘stance’. Taken together, we contribute the beginnings of a memetic theory of vitalism which speaks more readily with critical cybernetic discourse.
{"title":"Memetic memory as vital conduits of troublemakers in digital culture","authors":"Alexander O Smith, Jordan Loewen-Colón","doi":"10.1177/13548565241262421","DOIUrl":"https://doi.org/10.1177/13548565241262421","url":null,"abstract":"Recent fears of data capitalism and colonialism often argue using implicit assumptions about cybernetic technology’s ability to automate data about culture. As such, the level of data granularity made possible by cybernetic engineering can be used to dominate society and culture. Here we unpack these implicit assumptions about the datafication of culture through memes, which both act as cultural data and cultural memory. Using Alexander Galloway’s critical method of protocological analysis and descriptions of media tactics, we respond to fears of cybernetic domination. Protocols – the source by which cybernetic technologies enable automated datafication – enables us to respond to fears with optimism, and it further enables a more extensive development of how memetic memory functions. Our development shows that memetic memory often emerges before cybernetic datafication, offering moments of resistance from cybernetic domination. Further, this development enables a vitalist development of memetic memory, borrowing from Bergsonian theory and related contemporary media theories. Such a work contributes by providing cybernetic context in which culture, characterized through memes, resists cybernetic domination. In the process of this contribution, it also contributes a novel theory of memetic memory. Inspired by recent posthuman new media theory, we provide a novel reading of Richard Dawkins’ genetically inspired meme as well as Limor Shifman’s notion of memetic ‘stance’. Taken together, we contribute the beginnings of a memetic theory of vitalism which speaks more readily with critical cybernetic discourse.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"1 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141738221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-19DOI: 10.1177/13548565241258956
Emillie de Keulenaar, Thomas Poell, Anne Helmond, Bernhard Rieder, Jasmijn Van Gorp
This article examines how the ‘refugee crisis’, sparked by the arrival of refugees from the Syrian civil war and other conflicts around the world, was articulated across Dutch television news programs and social media between 2013 and 2018. This crisis has been described as a key catalyst of the radicalization of European political discourse. Crucially, it took shape during a period of profound transformation of the media landscape, in which mass media lost significant ground to social media as authoritative sources of truth and norms. The research focuses on the crucial but underexplored link between television and social media discourse, which is at the heart of contemporary European public debate. Using a combination of digital methods and NLP techniques, the article compares automatic speech recognition (ASR) transcripts of Dutch televised news on the refugee crisis with responses from publics on Facebook and Twitter. This computational cross-media approach enables a longitudinal analysis of how social media users differ in their interpretation of key events characterizing the crisis, as well as what language is acceptable to debate issues around integration, tolerance and identity. A rejection of mainstream news media editorial guidelines by social media users eventually resulted in their consumption of populist right-wing (‘alternative’) news media and active transgression of anti-discriminatory speech norms.
{"title":"Computational cross-media research: tracing divergences between normative Dutch television and social media discourses on the ‘refugee crisis’ (2013-2018)","authors":"Emillie de Keulenaar, Thomas Poell, Anne Helmond, Bernhard Rieder, Jasmijn Van Gorp","doi":"10.1177/13548565241258956","DOIUrl":"https://doi.org/10.1177/13548565241258956","url":null,"abstract":"This article examines how the ‘refugee crisis’, sparked by the arrival of refugees from the Syrian civil war and other conflicts around the world, was articulated across Dutch television news programs and social media between 2013 and 2018. This crisis has been described as a key catalyst of the radicalization of European political discourse. Crucially, it took shape during a period of profound transformation of the media landscape, in which mass media lost significant ground to social media as authoritative sources of truth and norms. The research focuses on the crucial but underexplored link between television and social media discourse, which is at the heart of contemporary European public debate. Using a combination of digital methods and NLP techniques, the article compares automatic speech recognition (ASR) transcripts of Dutch televised news on the refugee crisis with responses from publics on Facebook and Twitter. This computational cross-media approach enables a longitudinal analysis of how social media users differ in their interpretation of key events characterizing the crisis, as well as what language is acceptable to debate issues around integration, tolerance and identity. A rejection of mainstream news media editorial guidelines by social media users eventually resulted in their consumption of populist right-wing (‘alternative’) news media and active transgression of anti-discriminatory speech norms.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"7 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141738222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：