Pub Date : 2024-06-24DOI: 10.1177/13548565241264155
Whitney Monaghan
This article contributes to an emerging field of research on the classification and organisation of film and television on streaming video platforms. While scholarship has begun to grapple with the complexities of the streaming video landscape, critical frameworks have yet to be established for examining issues of LGBTIQA+ inclusion in this context. This article explores questions about what queer media is in the streaming video era and how is this shaped by the information practices of streaming video services. Classification and organisation of titles is a significant factor in the discoverability of content on streaming video platforms. In the context of queer media, classification practices also impact the visibility of marginalised LGBTIQA+ identities, communities, and cultures. Beyond this, the categorisation practices of streaming video providers play a significant role in shaping and communicating cultural values about queer media. From an Australian vantage point, this article maps the contours of queer media in the streaming video environment, focusing on Subscription Video on Demand (SVOD) and Broadcast Video on Demand (BVOD) services. By investigating the categories that streaming video providers use to organise and highlight LGBTIQA+ film and television, this article identifies how queer media is defined as a cultural category through use of labels such as ‘pride’, the categories and subcategories that approach queer media as a constellation of niche interests, and an underlying emphasis on ‘good’ characters and positive LGBTIQA+ narratives.
{"title":"Queer media in the age of streaming video","authors":"Whitney Monaghan","doi":"10.1177/13548565241264155","DOIUrl":"https://doi.org/10.1177/13548565241264155","url":null,"abstract":"This article contributes to an emerging field of research on the classification and organisation of film and television on streaming video platforms. While scholarship has begun to grapple with the complexities of the streaming video landscape, critical frameworks have yet to be established for examining issues of LGBTIQA+ inclusion in this context. This article explores questions about what queer media is in the streaming video era and how is this shaped by the information practices of streaming video services. Classification and organisation of titles is a significant factor in the discoverability of content on streaming video platforms. In the context of queer media, classification practices also impact the visibility of marginalised LGBTIQA+ identities, communities, and cultures. Beyond this, the categorisation practices of streaming video providers play a significant role in shaping and communicating cultural values about queer media. From an Australian vantage point, this article maps the contours of queer media in the streaming video environment, focusing on Subscription Video on Demand (SVOD) and Broadcast Video on Demand (BVOD) services. By investigating the categories that streaming video providers use to organise and highlight LGBTIQA+ film and television, this article identifies how queer media is defined as a cultural category through use of labels such as ‘pride’, the categories and subcategories that approach queer media as a constellation of niche interests, and an underlying emphasis on ‘good’ characters and positive LGBTIQA+ narratives.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"218 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141529766","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 : 2024-06-20DOI: 10.1177/13548565241261978
Ana Pop Stefanija, Jo Pierson
In this article, we outline an innovative participatory method for reflexive engagement with algorithmic systems and the underlying processes of datafication that accompany them. Faced with the challenges of thinking critically and reflexively about algorithmic systems, both as non-expert individuals and expert researchers, we develop and elaborate on an approach for engaging participants in thinking with, – through and – about algorithmic artifacts. In developing our approach, we start from the premise that algorithms are always broken, and we devise Repair Manuals as productive reflexivity devices that will enable for reflective and reflexive encounters with algorithmic artifacts. Borrowing from the approaches developed by Shannon Mattern and Joseph Dumit, we take algorithmic data artifacts as entry points to embark on an investigative, self-learning and sense-making journey of the inevitable entanglement between the individuals and the all-encompassing algorithmic systems. The results from our study show that this approach offers valuable opportunities and insights both for educators and for researchers, and can be used equally for empowerment and educational goals.
{"title":"Repairing what’s not broken – Algorithm repair manual as reflexivity device","authors":"Ana Pop Stefanija, Jo Pierson","doi":"10.1177/13548565241261978","DOIUrl":"https://doi.org/10.1177/13548565241261978","url":null,"abstract":"In this article, we outline an innovative participatory method for reflexive engagement with algorithmic systems and the underlying processes of datafication that accompany them. Faced with the challenges of thinking critically and reflexively about algorithmic systems, both as non-expert individuals and expert researchers, we develop and elaborate on an approach for engaging participants in thinking with, – through and – about algorithmic artifacts. In developing our approach, we start from the premise that algorithms are always broken, and we devise Repair Manuals as productive reflexivity devices that will enable for reflective and reflexive encounters with algorithmic artifacts. Borrowing from the approaches developed by Shannon Mattern and Joseph Dumit, we take algorithmic data artifacts as entry points to embark on an investigative, self-learning and sense-making journey of the inevitable entanglement between the individuals and the all-encompassing algorithmic systems. The results from our study show that this approach offers valuable opportunities and insights both for educators and for researchers, and can be used equally for empowerment and educational goals.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"94 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141508542","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 : 2024-05-30DOI: 10.1177/13548565241256563
Leticia-Tian Zhang
Extensive research has been conducted on social media and fandom, particularly on how digital platforms facilitate community formation and cultural production among fans. However, there remains a gap in understanding how these communities react to and interpret changes such as commercialization or mainstreaming of their platforms. This study addresses this gap by focusing on Bilibili’s danmu culture, a vibrant fan community that is transitioning from a subculture to a mainstream entity. The platform culture lies in danmu, a commentary system that allows for video-superimposed moving texts on the screen. Existing research on danmu mainly focuses on the mediated playful and creative audience participation. However, little is understood about the perception and critical evaluation of danmu commenting within its participatory community. This study investigates the vernacular criticism of danmu amongst users on Bilibili by analyzing user discussions around a remix video called ‘This is danmu culture!’. Findings reveal three overarching themes: nostalgia for past danmu creations, criticism of present danmu practices, and negotiation of danmu culture. Central to these themes is the commenters’ identification as part of an elite fan community that is gradually fading. Bilibili, once a sanctuary for anime, comic, and game enthusiasts, now finds itself caught in the tension between subculture and mainstream audiences, resulting in increasing polarization.
{"title":"From subculture to mainstream: Nostalgia, criticism and negotiation in a fan community","authors":"Leticia-Tian Zhang","doi":"10.1177/13548565241256563","DOIUrl":"https://doi.org/10.1177/13548565241256563","url":null,"abstract":"Extensive research has been conducted on social media and fandom, particularly on how digital platforms facilitate community formation and cultural production among fans. However, there remains a gap in understanding how these communities react to and interpret changes such as commercialization or mainstreaming of their platforms. This study addresses this gap by focusing on Bilibili’s danmu culture, a vibrant fan community that is transitioning from a subculture to a mainstream entity. The platform culture lies in danmu, a commentary system that allows for video-superimposed moving texts on the screen. Existing research on danmu mainly focuses on the mediated playful and creative audience participation. However, little is understood about the perception and critical evaluation of danmu commenting within its participatory community. This study investigates the vernacular criticism of danmu amongst users on Bilibili by analyzing user discussions around a remix video called ‘This is danmu culture!’. Findings reveal three overarching themes: nostalgia for past danmu creations, criticism of present danmu practices, and negotiation of danmu culture. Central to these themes is the commenters’ identification as part of an elite fan community that is gradually fading. Bilibili, once a sanctuary for anime, comic, and game enthusiasts, now finds itself caught in the tension between subculture and mainstream audiences, resulting in increasing polarization.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"37 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141198208","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 : 2024-05-28DOI: 10.1177/13548565241256888
Louis-Etienne Dubois, Alex Chalk
The last decade has seen a rapid growth of service-based offerings – also known as Game-as-a-Service or GaaS – in the video game industry, among which are some of the most popular franchises, such as Fortnite or League of Legends. Yet, even though these games are designed to be played and supported for an indefinite period of time, many studios have recently chosen to curtail services after introducing them, making for unclear outlooks on the future of this business model. Hence, based on secondary sources – including company documents, industry press and dedicated player forums – this multiple case study sets out to investigate the reasons behind studios’ decision to discontinue parts of five popular GaaS. Three main motives for withdrawing services emerge from the cases. Namely, rather than supporting services, studios decide to (1) attend to the company, to (2) attend to players and (3) to attend to the core product itself. The results contribute to the nascent GaaS literature, in particular with respect to business models and product-life cycle considerations. Implications for studios are offered in closing.
{"title":"Service withdrawal: The uncertain future of the games-as-a-service model","authors":"Louis-Etienne Dubois, Alex Chalk","doi":"10.1177/13548565241256888","DOIUrl":"https://doi.org/10.1177/13548565241256888","url":null,"abstract":"The last decade has seen a rapid growth of service-based offerings – also known as Game-as-a-Service or GaaS – in the video game industry, among which are some of the most popular franchises, such as Fortnite or League of Legends. Yet, even though these games are designed to be played and supported for an indefinite period of time, many studios have recently chosen to curtail services after introducing them, making for unclear outlooks on the future of this business model. Hence, based on secondary sources – including company documents, industry press and dedicated player forums – this multiple case study sets out to investigate the reasons behind studios’ decision to discontinue parts of five popular GaaS. Three main motives for withdrawing services emerge from the cases. Namely, rather than supporting services, studios decide to (1) attend to the company, to (2) attend to players and (3) to attend to the core product itself. The results contribute to the nascent GaaS literature, in particular with respect to business models and product-life cycle considerations. Implications for studios are offered in closing.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"12 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141171007","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 : 2024-05-25DOI: 10.1177/13548565241255347
Yvonne M Eadon, Stacy E Wood
In recent years, government agencies, information institutions, educators and researchers have paid increasing attention to issues of misinformation, disinformation and conspiracy theorizing. This has prompted a seemingly endless supply of guides, frameworks and approaches to ‘combating’ the problem. In studies of mis- and disinformation, a constellation of analogous concepts are defined in multiple ways across multidisciplinary literatures and institutional contexts. Misinformation, disinformation and conspiracy theory are often conflated, lacking specific, portable definitions across fields of study. Linguistic metaphors are often leveraged in place of this definitional work. The larger conceptual metaphors that they connote contain normative assumptions that often impose values and moral imperatives, imply deficiencies, assume intent, and foreground individual agency or lack thereof. Metaphors are as restrictive as they are illuminating; once used, a metaphor also applies constraints to the way in which a phenomenon can be understood. Metaphors not only shape the ways in which science is communicated to the public, but also the kinds of questions that are asked, the theories and methods used, and the parameters of the research design. By analyzing instances of linguistic metaphor, this exploratory study identifies and develops two conceptual metaphors that are frequently evoked to discuss mis- and disinformation: embodied health metaphors and environmental health metaphors. The former includes linguistic metaphors like viral/virality, infodemic, infobesity, information hygiene, information dysfunction, and information pathology. The latter includes linguistic metaphors like information pollution, infollution, and digital wildfires. Uncritically invoking such metaphors adopts tacit arguments deriving from the original field of study (e.g., public health’s tendency to equate individual embodied health with virtue), or the image of the metaphor itself ( digital wildfires implies quick spread and immediate danger), or both. Widespread and uncritical use of such metaphors, we argue, rewards speed and epistemic homogeneity in mis- and disinformation research – ultimately discouraging in-depth inquiry.
{"title":"Combating contamination and contagion: Embodied and environmental metaphors of misinformation","authors":"Yvonne M Eadon, Stacy E Wood","doi":"10.1177/13548565241255347","DOIUrl":"https://doi.org/10.1177/13548565241255347","url":null,"abstract":"In recent years, government agencies, information institutions, educators and researchers have paid increasing attention to issues of misinformation, disinformation and conspiracy theorizing. This has prompted a seemingly endless supply of guides, frameworks and approaches to ‘combating’ the problem. In studies of mis- and disinformation, a constellation of analogous concepts are defined in multiple ways across multidisciplinary literatures and institutional contexts. Misinformation, disinformation and conspiracy theory are often conflated, lacking specific, portable definitions across fields of study. Linguistic metaphors are often leveraged in place of this definitional work. The larger conceptual metaphors that they connote contain normative assumptions that often impose values and moral imperatives, imply deficiencies, assume intent, and foreground individual agency or lack thereof. Metaphors are as restrictive as they are illuminating; once used, a metaphor also applies constraints to the way in which a phenomenon can be understood. Metaphors not only shape the ways in which science is communicated to the public, but also the kinds of questions that are asked, the theories and methods used, and the parameters of the research design. By analyzing instances of linguistic metaphor, this exploratory study identifies and develops two conceptual metaphors that are frequently evoked to discuss mis- and disinformation: embodied health metaphors and environmental health metaphors. The former includes linguistic metaphors like viral/virality, infodemic, infobesity, information hygiene, information dysfunction, and information pathology. The latter includes linguistic metaphors like information pollution, infollution, and digital wildfires. Uncritically invoking such metaphors adopts tacit arguments deriving from the original field of study (e.g., public health’s tendency to equate individual embodied health with virtue), or the image of the metaphor itself ( digital wildfires implies quick spread and immediate danger), or both. Widespread and uncritical use of such metaphors, we argue, rewards speed and epistemic homogeneity in mis- and disinformation research – ultimately discouraging in-depth inquiry.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"9 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141149260","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 : 2024-05-13DOI: 10.1177/13548565241253909
Terje Colbjørnsen
In May 2020, the music streaming service Spotify acquired exclusive rights to The Joe Rogan Experience, one of the world’s most popular podcasts. While the music streamer had started its foray into the podcasting world with acquisitions in 2019 of podcasting networks and production companies, the investment on Rogan was widely seen as a strong commitment. Rogan’s podcast is known to be humorous, crass, and often controversial. As the show dealt with highly contentious issues surrounding the COVID-19 pandemic, criticism emerged, both from medical professionals, from artists and from within Spotify. The most widely published pushback came from artist Neil Young in January 2022, as he posed an ultimatum: ‘They can have Rogan or Young. Not both’. The Joe Rogan v. Spotify case can be seen as indicative of how the platformization of podcasting creates tensions and conflicts: Worlds collide as the logics of music publishing and news publishing crash with Rogan’s free reign podcasting world. As a result, Spotify, as a podcasting platform and publisher, finds itself in unfamiliar terrain. This paper connects the details of the case with theories of platformization, looking specifically at the role of Spotify as a comparatively new distributor of podcasts and a driving force to connect various audio formats. Drawing on media industry studies and scholarship on media policy and regulation, the paper ends with a discussion on how to understand the complexity of Spotify’s role as a publisher and a platform and Rogan’s role as a platform creator.
{"title":"Joe Rogan v. Spotify: Platformization and worlds colliding","authors":"Terje Colbjørnsen","doi":"10.1177/13548565241253909","DOIUrl":"https://doi.org/10.1177/13548565241253909","url":null,"abstract":"In May 2020, the music streaming service Spotify acquired exclusive rights to The Joe Rogan Experience, one of the world’s most popular podcasts. While the music streamer had started its foray into the podcasting world with acquisitions in 2019 of podcasting networks and production companies, the investment on Rogan was widely seen as a strong commitment. Rogan’s podcast is known to be humorous, crass, and often controversial. As the show dealt with highly contentious issues surrounding the COVID-19 pandemic, criticism emerged, both from medical professionals, from artists and from within Spotify. The most widely published pushback came from artist Neil Young in January 2022, as he posed an ultimatum: ‘They can have Rogan or Young. Not both’. The Joe Rogan v. Spotify case can be seen as indicative of how the platformization of podcasting creates tensions and conflicts: Worlds collide as the logics of music publishing and news publishing crash with Rogan’s free reign podcasting world. As a result, Spotify, as a podcasting platform and publisher, finds itself in unfamiliar terrain. This paper connects the details of the case with theories of platformization, looking specifically at the role of Spotify as a comparatively new distributor of podcasts and a driving force to connect various audio formats. Drawing on media industry studies and scholarship on media policy and regulation, the paper ends with a discussion on how to understand the complexity of Spotify’s role as a publisher and a platform and Rogan’s role as a platform creator.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"28 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140938159","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 : 2024-05-10DOI: 10.1177/13548565241253903
Jon Swords, Nina Willment
Virtual production is increasingly seen as a way to make film and television more efficiently by harnessing the power of game engines to create unique locations and sets, offer directors more flexibility, and to cut carbon emissions. But while the technologies at the centre of virtual production are not new, their combination into filmmaking pipelines is in its infancy and the field is evolving fast. Indeed, so rapid is its evolution that pinning down what virtual production is, or might become, is a challenge in itself. What is clear, however, is that the approach is seen as an important element of filmmaking that is here to stay. In this article, we outline the emergence of virtual production and constituent technologies to pin down its current form. We also examine the emergent orthodoxies about what virtual production can do, what it can’t do and what it might allow filmmakers to do in the future. We finish the article by outlining a research agenda for further work on virtual production for scholars interested in its technologies, impact on working practices, how it might impact equality, diversity and equality agendas, and its implications for existing and emerging skills gaps across the film and TV industry.
{"title":"The emergence of virtual production – a research agenda","authors":"Jon Swords, Nina Willment","doi":"10.1177/13548565241253903","DOIUrl":"https://doi.org/10.1177/13548565241253903","url":null,"abstract":"Virtual production is increasingly seen as a way to make film and television more efficiently by harnessing the power of game engines to create unique locations and sets, offer directors more flexibility, and to cut carbon emissions. But while the technologies at the centre of virtual production are not new, their combination into filmmaking pipelines is in its infancy and the field is evolving fast. Indeed, so rapid is its evolution that pinning down what virtual production is, or might become, is a challenge in itself. What is clear, however, is that the approach is seen as an important element of filmmaking that is here to stay. In this article, we outline the emergence of virtual production and constituent technologies to pin down its current form. We also examine the emergent orthodoxies about what virtual production can do, what it can’t do and what it might allow filmmakers to do in the future. We finish the article by outlining a research agenda for further work on virtual production for scholars interested in its technologies, impact on working practices, how it might impact equality, diversity and equality agendas, and its implications for existing and emerging skills gaps across the film and TV industry.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"4 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140938245","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 : 2024-05-08DOI: 10.1177/13548565241253907
Rob Cover, Nicola Henry, Thuc Bao Huynh, Joscelyn Gleave, Viktor Grechyn, Sharon Greenfield
Public figures are subject to high rates of online abuse than everyday users. This article presents findings from a study on digital platforms’ higher threshold for protecting public figures in contrast to everyday users. Presenting a summary of extant literature on the experience, impact and harms of online abuse of public figures, we analyse 31 platform terms of service and related policies to understand the extent to which platforms openly differentiate between public figures and other users. We focus on platforms’ use of ‘newsworthiness’ and ‘public interest’ to justify the differential threshold. Using a cultural-informed approach, we analyse platforms’ reliance on ‘newsworthiness’ and ‘public interest’ justifications to argue that these justifications are utilised without regard for the histories, risk assessment, ethics and labour-intensive processes in which the concepts of newsworthiness and public interest became familiar among more traditional media forms such as news organisations.
{"title":"Platform policy and online abuse: Understanding differential protections for public figures","authors":"Rob Cover, Nicola Henry, Thuc Bao Huynh, Joscelyn Gleave, Viktor Grechyn, Sharon Greenfield","doi":"10.1177/13548565241253907","DOIUrl":"https://doi.org/10.1177/13548565241253907","url":null,"abstract":"Public figures are subject to high rates of online abuse than everyday users. This article presents findings from a study on digital platforms’ higher threshold for protecting public figures in contrast to everyday users. Presenting a summary of extant literature on the experience, impact and harms of online abuse of public figures, we analyse 31 platform terms of service and related policies to understand the extent to which platforms openly differentiate between public figures and other users. We focus on platforms’ use of ‘newsworthiness’ and ‘public interest’ to justify the differential threshold. Using a cultural-informed approach, we analyse platforms’ reliance on ‘newsworthiness’ and ‘public interest’ justifications to argue that these justifications are utilised without regard for the histories, risk assessment, ethics and labour-intensive processes in which the concepts of newsworthiness and public interest became familiar among more traditional media forms such as news organisations.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"37 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140928770","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 : 2024-05-08DOI: 10.1177/13548565241247415
Larissa Hjorth, Jacob Sheahan, Bernardo Figueiredo, Diane Martin, Mike Reid, Torgeir Aleti, Buschgens Mark
During the COVID-19 pandemic lockdowns (2020-2021), almost all facets of life were rendered digital – health, work, schooling, and logistics. In this phenomenon, not only did digital access become synonymous with social inclusion but inequalities were also amplified – particularly in the case of older adults (65 years and over). Contemporary older adults represent one of the most diverse spectrums of digital media users – spanning from technologically savvy to non-users. As the first generation of older adults to age in and through data in a data-saturated world, their understandings and experiences can teach us much about the possibilities and limitations of new media. Understanding these practices through cultural probes – like drawing, photos and writing prompts – can enable playful behaviours that not only elicit new thoughts and actions but also allow insight into some of the tacit lived experience that can support opportunities for technological use. In this paper, we ask: How can we playfully co-design through personas to enhance understandings of older adults’ lived experience of digital media? In this paper, we focus on the six co-design workshops in which we deployed personas as representations of digital experience to challenge, explore, provoke and help build nuanced tools for implementation. Through personas, speculative fiction and lived experience collide, offering some fascinating ways to rethink the digital-social dimension for older adults now and into the future.
{"title":"Playing with persona: Highlighting older adults’ lived experience with the digital media","authors":"Larissa Hjorth, Jacob Sheahan, Bernardo Figueiredo, Diane Martin, Mike Reid, Torgeir Aleti, Buschgens Mark","doi":"10.1177/13548565241247415","DOIUrl":"https://doi.org/10.1177/13548565241247415","url":null,"abstract":"During the COVID-19 pandemic lockdowns (2020-2021), almost all facets of life were rendered digital – health, work, schooling, and logistics. In this phenomenon, not only did digital access become synonymous with social inclusion but inequalities were also amplified – particularly in the case of older adults (65 years and over). Contemporary older adults represent one of the most diverse spectrums of digital media users – spanning from technologically savvy to non-users. As the first generation of older adults to age in and through data in a data-saturated world, their understandings and experiences can teach us much about the possibilities and limitations of new media. Understanding these practices through cultural probes – like drawing, photos and writing prompts – can enable playful behaviours that not only elicit new thoughts and actions but also allow insight into some of the tacit lived experience that can support opportunities for technological use. In this paper, we ask: How can we playfully co-design through personas to enhance understandings of older adults’ lived experience of digital media? In this paper, we focus on the six co-design workshops in which we deployed personas as representations of digital experience to challenge, explore, provoke and help build nuanced tools for implementation. Through personas, speculative fiction and lived experience collide, offering some fascinating ways to rethink the digital-social dimension for older adults now and into the future.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"43 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140938279","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 : 2024-04-17DOI: 10.1177/13548565241247412
Nicoleta Corbu, Georgiana Udrea, Raluca Buturoiu, Elena Negrea-Busuioc
The concern about misinformation in the public space has become more worrisome during the COVID-19 pandemic and the war in Ukraine. In this context, we investigate what make people correctly recognize accurate information and detect misinformation about the war at the beginning of the conflict in Romania, a bordering country. By means of a national survey ( N = 1006) conducted in April-May 2022, we looked for predictors of people’s capacity of navigating the information environment about the conflict. Data was gathered via an online panel conducted by Kantar as part of a cross-country project implemented in 19 countries. Findings show that people are relatively good at discerning between correct and misleading statements about the war. Prior negative attitudes about the Ukraine invasion, the level of concern about the war, not having a conspiracy mindset, self-perceived media literacy, and the extent to which people believe fact-checks to be effective in fighting misinformation are all predictors of the accuracy of misinformation detection of the respondents. These results offer insights into how ideologically based/motivated misinformation could be countered in a war crisis context, in a country bordering the conflict.
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