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Week 10: Gaming Communities, Social Gaming & Live Streaming
When we think of gaming, we think of play, and although the term ‘play’ is usually associated with children, adults engage in play more than we think. What is considered a ‘game’ is an umbrella term that is extremely broad, and refers to inherently social genres of games, such as social games, board games, card games, virtual reality, video games, digital game platforms, and even physical sports.
In the beginning, computers weren’t originally made for games, they didn’t even have screens, instead they were made for the processing of information. So the recent move to utilise original computing technology for the purpose of play has been a deliberate choice, rather than a natural occurence. Many believe arcade games are responsible for the birth of video games, almost acting as a precurse from one to the other. Initially, many home based games were based on arcade games, specifically the function and structure of arcade games that was familiar for many. Arcade games almost define the beginning, and the reintroduction of the idea of play, placing the notion of play as a new act socially acceptable for adults to engage in. Arcade games are usually located in bars, close to other adult games such as pool tables and slot machines. This subconsciously repositioned the act of play, in a way that allowed for the audience to “grow significantly.”
Atari Pong was released in 1975, and is one of the earliest home based games. It marks the birth of local multi player, which involves games played with more than just one person, taking place in the same location. The act of playing with others in the same place is sometimes referred to as ‘couch co op,’ where the term exposes the parallel between local multi player and playing games on the couch in the comfort of ones own home. Computer games are integral to the introduction to, and helping many people navigate this new and emerging digital technology. Ultimately, the recent rise of computer games created a mainstream, wide spread culture around digital literacy. In combination with the rise of computer games comes the emerging and progressive nature of the internet, where both work together in creating a space where people can now play with, as well as against each other regardless of where they are in the world.
When we talk ‘gamer,’ people usually invision a young, white or East Asian middle-class man. Because of this gamer stereotype, the gaming culture is typically masculine-dominated. Those who fit the stereotype, and thus considered ‘gamers,’ are more welcomed in the gaming community, and are more welcomed to participate in the act of play, compared to those who may not fit the typical stereotype. Despite the male dominated culture of gaming, gaming communities are seen as social communities, where people come together and bond over their shared love for such play. It usually involves a collection of smaller communities in which different players will flow between. These smaller communities are determined by different levels of skill, and expertise and knowledge in the gaming field.
References:
Taylor, TL. (2018). Broadcasting Ourselves. Watch Me Play, 1-23. https://www.jstor.org/stable/j.ctvc77jqw.4.
Figure 1. Gaming community portal, 2020. Retrieved from “geexus.com” 2020, https://www.geexus.com/gaming-community-portal-geexus/. Copyright 2020 from geexus.com.
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Week 9: Instagram Filters
Augmented Reality, typically known as AR, are filters that superimpose virtual objects over the top of the photo or video of the real world. AR has existed since the 1960s, and because of the emerging accessibility and integration with smart digital technologies and platforms, AR has become increasingly popular over the last 15 years. Since the release of Snapchat filters in 2016, AR has developed even further, and marks only the beginning of AR’s adoption by the general public. Where Snapchat is mostly responsible for the birth of AR, most social media and technology platforms utilise the similar computer technologies to achieve the superimposing of virtual objects.
The term ‘filter’ is commonly used when referring to something that must be removed. However Instagram filters continue to challenge this common knowledge, as they are usually used when wanting to add something, rather than take away. In the context of preset filters, they often added borders, saturation, or colour overlays. The same goes for AR filters, where they too add virtual elements like puppy ears, freckles, or blush and lipstick. Rettburg explains the parallel between AR filters and coffee filters, as they both work to remove unwanted elements, while adding wanted elements at the same time. Where the coffee filter “does stop the ground coffee beans from getting into the pot beneath,” AR filters may cover parts of the face that may be an insecurity for some. Both do this simultaneously while adding the desired “flavour,” for coffee filters being the coffee flavour flowing through into the water, and for AR filters, adding desired “flavour” may look like different hairstyles, tattoos or makeup over the top.
Recent research has shown that there are 500 million daily active Instagram story users, and 332 million daily active Snapchat story users. This means millions of people have the potential to instantaneously change their image and their self perception everyday. With this of course comes privacy problems, that concern the ways in which our data is stored, and begs the question of whether the use of such filters, is in fact priming us to slowly accept over time the use of our biometric data by large multinational technology companies. In saying this, the use of AR filters can bring about positives for many people. Such filters allow the user to explore their digital identity, and has proven beneficial for people who aim to explore more serious forms of identity, such as the exploration and experimentation with gender identity, without resulting in permanent change or permanent consequences. “As the age of digitised beauty progresses,” our personal capacity and ability to “technologically modify” our image and self perception will continue to develop.
References:
Coy-Dibley, I. (2016). “Digitised Dysmorphia” of the female body: the re/disfigurement of the image. Palgrave Communities, 2 (16040), 1-9. 10.1057/palcomms.2016.40.
Figure 1. Instagram rolls out selfie filters, rewind options for videos, hashtag sticker & erase brush, 2017. Retrieved from “idownloadblog.com” 2017, https://www.idownloadblog.com/2017/05/16/instagram-selfie-filters/. Copyright 2017 from idownloadblog.com.
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Week 8: Body Modification on Visual Social Media
Public health is closely integrated with communication technologies, where social media plays a powerful part in the spreading and raising awareness of various public health messages. Though the dissemination of public health information is important, the aesthetic template typically related to public health campaigns and promotions can be quite problematic.
Many social media influencers run public health campaigns, by promoting both products and important messages that are linked to their personalised brands. These personalised brands tend to follow typical aesthetic templates, and with this comes the notion of body image ideals. Many social media influencers create content to promote certain health products, for example supplements or health gummies. Such content gives viewers the impression that by consuming the same products, they too can look like the influencer in the picture or video. For example, Kim Kardashian has launched Skims, an underwear and shape wear brand that promotes feelings of body positivity, claiming all people should feel body positive regardless of their “shape or size.” The nature of the products they sell is closely linked to the body image ideals that form the foundation of the Skims brand, dominating influencer and microcelebrity culture.
Microcelebrity is a new and emerging form of identity, and is closely linked exclusively to online spaces and platforms. It involves “creating and maintaining an online identity” (Marwick, 2013), and focuses on gaining status through visibility and awareness online, driven by heavily branded products. The higher the number of followers, the more fame and status the influencer will receive. In order to achieve a branded or celebrified self image on Instagram, “the rising influence of this platform” means the influencer must adhere to the series of aesthetic templates endorsed by microcelebrity culture, usually taking place in the form of product campaigns. This notion of self branding coincides with the rise of the prosumer, where many Instagram users are simultaneously producing and consuming celebrified brands. Through the choices we as consumers make, through actions as simple as liking, commenting, or engaging with online content, we are in fact shaping the grounds on which these celebrified brands stand.
References:
Dorfman, R, Vaca, E, Mahmood, E, Fine, N, Schierle, C. (2018). Plastic Surgery-Related Hashtag Utilisation on Instagram: Implications for Education and Marketing. Aesthetic Surgery Journal, 38 (3), 332-338. https://academic.oup.com/asj/.
Figure 1. Skims Product Photography, ND. Retrieved from “skims.com” ND, https://skims.com/. Copyright ND from skims.com.
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Week 7: Social Media Governance
Put simply, social media governance refers to both micro and macro levels. It explores the ways the internet is run, legal frameworks, the varying regulations put in place, and those who ultimately control social media and the internet as a whole. Various bodies come together to determine standards, specifically the standards that could, should and will be used, for example available emojis, in order to ensure there is effective communication between systems. Though different social media brands and companies, different social institutions, and different countries all approach these regulations in varying ways, the standards put in place aim to promote and achieve a body of systems that work simultaneously and effectively together. On a smaller scale, this can look like Facebook group moderators, and social media group creators.
Social media governance explores the rise of conflict in the use of digital technologies and platforms. The notion of conflict exposes its close relationship with digital citizenship, activism, user regulation, platform use, and the promotion of community and inclusion. With social media governance comes digital communities, a space often deemed as entirely good, and a platform where the act of inclusion is unproblematic. However, digital citizenship in such context is often a struggle, leaving very little even playing field for many users. It’s almost as if every platform is in battle with another to gather user data. Conflict on social media exposes the true nature of digital citizenship, suggesting it often involves power, and the notion of gaining and maintaining power over resources, over freedom of speech, over varying platforms, and power over different markets, brands and commercial businesses.
The definition for online harassment is extremely broad, and typically involves offensive name calling, embarrassment online, physical threatening, online sexual abuse and harassment, impersonation, rumour spreading, encouragement of harassment by others, the erosion of one’s “sense of self and sanity,” and the attempt to hurt the victim beyond the online space, all of which can take place over a long period of time. Online harassment is often viewed as a deviation from the typical and from the norm, suggesting it takes place from one individual to another. However, social media is used by many as a networked strategy to precipitate such harassment, as if to say it is “instigated,” coordinated and organised. In Plan International’s survey of 14,000 girls across 31 countries, 59% had been on the receiving end of abuse and insulting language online. Research suggests that online hate mirrors prejudice, bias and oppression experienced offline, and is often focused on race, physical characteristics, physical appearance, gender and political views.
Up until 2021, there was no single piece of Australian legislation against bullying and abuse online. However today, the publics awareness of online harassment has emerged, and its forever growing nature lead to the Online Safety Act being passed in January 2022, an act that offers protection against significant online abuse and harassment.
References:
Gleeson, J. (2018). Explainer: What Does ‘Gaslighting’ Mean? School of Global, Urban and Social Studies. https://theconversation.com/explainer-what-does-gaslighting-mean-107888.
Marwick, A, Caplan, R. (2018). Drinking male tears: language, manosphere and networked harassment. Feminist Media Studies, 18 (4), 1-18. https://www.tandfonline.com/loi/rfms20.
Figure 1. Why Online Harassment Is Still Ruining Lives - And How We Can Stop It, 2015. Retrieved from “fastcompany.com” 2015, https://www.fastcompany.com/3046772/why-online-harassment-is-still-ruining-lives-and-how-we-can-stop-it. Copyright 2015 from fastcompany.com.
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Week 6: Social Media Influencers & the Slow Fashion Movement
Digital ethics is defined by ethics, and the ability to show respect for others when using digital technologies and platforms. Where digital citizenship is closely related to social media and the slow fashion movement, individuals within our society must recognise that our consumption practices do in fact affect all kinds of creators, for example, our reception of the physical garments we wear directly affect the creator/designer themself. Digital citizenship’s relationship with social media and the slow fashion movement also involves the ability to display both responsibility and sustainability. Specifically, the recognition that our emerging and progressive digital technologies, for example our phones or our computers, play a significant part in creating and exacerbating electronic waste. This in turn promotes ideal corporate citizens and corporate social responsibilities, in acknowledging screen time, and the many negative effects “too much” screen time can have. Multinational technology companies like Apple and Google hold a profound sense of power over many individuals, and therefore they too must recognise the role they play in taking responsibility. This poses the question of whether such companies are making an “authentic,” “genuine” effort to take responsibility of the great power they hold, or does it simply come down to greenwashing, and the potential to ultimately make more money?
While the progressive and forever growing nature of social media has had an incredible impact on the slow fashion movement, the heart of the fast fashion problem lies in the time of the 1960s, where more and more people began to recognise and understand the importance of animal rights. This defines only the beginning of the slow fashion movement, with the birth of anti-fur campaigns in the 1980s, and protests against unethical working conditions in the 1990s and early 2000s. The term ‘slow fashion’ is often used in exchange with ‘eco fashion,’ ‘sustainable fashion,’ ‘ethical consumption,’ ‘thrifting,’ and ‘circular fashion,’ and has a close relationship with the sustainable consumption movement. Where ‘circular fashion’ looks at the relationship between synthetic fibres hindering what could be a simple process of enjoying, sharing, and then “upcycling or recycling” old garments, being sustainable with fashion means to reduce our reliance on “natural resources,” waste emissions and “toxic materials” and “pollutants” (Lai et al, 2017). Hence sustainable fashion is extremely important, because it ensures the needs of future generations continue to be met.
The impact fast fashion is having on our environment is forever growing, and only going to worsen over time. It is estimated that the textile industry has a 20% contribution to global industrial water pollution, and the global fashion industry is responsible for 10% of the worlds carbon emissions. While many social media influencers must be held accountable for their contribution to promoting fast fashion, some continue to participate in the slow fashion movement. For the good of our nation, our people and our environment, we must come together and recognise how important the slow fashion movement truly is.
References:
Lai, Z, Henninger, C, Alevizou, P. (2017). An Exploration of Consumers’ Perceptions Towards Sustainable Fashion - A Qualitative Study in the UK. Sustainability in Fashion, 81-101.
Figure 1. Top 10 Reasons Why Today’s Fast Fashion Holds A Health Risk, 2016. Retrieved from “womenfitness.net” 2016, https://www.womenfitness.net/top10/fast-fashion-risk/. Copyright 2016 from womenfitness.net.
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Week 5: Hashtag Publics, Political Engagement & Activism
In Western culture, the ability to actively participate in politics is “considered a defining feature of democratic citizenship” (Law et al, 2018), and is linked to traditional ideas of citizenship, in Australia in particular. Because of social medias emerging role as the example for the public sphere, and it’s growing space for discussion, deliberation and the exchange of important information, the idea of digital citizenship is now also linked to traditional citizenship. Where before, the navigation of politics for the ordinary person involved the sole allegiance to a specific political party, and would be passed on through generations, the progressive nature of social media has now provided all people with the opportunity to personalise their own engagement with politics. This in turn acts as a catalyst, by developing "new citizen norms and identities,” and defining digital citizenship in the way we know today.
Digital citizenship is described by the potential to benefit whole societies, and encourage the participation of all individuals, promoting the progression of membership for all. As explored above, this looks like actively engaging with, and participating in current and ongoing politics, however “political engagement has changed in the contemporary era,” and thus also involves engagement outside the election process. Known as activism, individuals may do things that benefit societies as a whole, in situations and contexts removed from the election process. This is typically associated with ensuring the use of social media and technology is appropriate, and concerns user behaviours within large social institutions like schools. It also involves the act of controlling bullying and trolling on social media, and often concerns literacy access, working to minimise the digital divide.
To be a good digital citizen means to have the skills and knowledge that allows for positive and effective use of digital technologies and platforms. It means to use these technologies and platforms in such a way that promotes positive participation, communication, and the appropriate creation and consumption of digital content and media.
References:
Vromen, A. (2017). Digital Citizenship and Political Engagement. The Challenge from Online Campaigning and Advocacy Organisations London, 1-7. https://swinburne.instructure.com/courses/40896/pages/week-5-readings?module_item_id=2529020.
Figure 1. Portrait of Woman Photographing with Smart Phone, ND. Retrieved from “pexels.com” ND, https://www.pexels.com/photo/portrait-of-woman-photographing-with-smart-phone-248021/. Copyright ND from pexels.com.
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Week 4: Reality TV
For the last 20 years, Reality TV has been a leading form of television and entertainment genre. It typically involves “ordinary people engaged in unscripted action and interaction (Nabi, 2007). The genre Reality TV is very broad, and includes celebrities, sitcoms, court programs, talent shows, gaming, dating, makeover, lifestyle and docusoaps.
Where the public sphere is a place for all people to interact, deepen their critical knowledge, and form general public opinions, the question of whether Reality TV is an example of the public sphere continues to be asked. Many people feel Reality TV is not an example of the public sphere, and believe that Reality TV does not create an opportunity or space for such discussion about real life social issues. In saying this, people who are asked about their viewing practices generally deem Reality TV as their least favourite entertainment genre. Despite Reality TVs consistently low survey ratings, in 2021, Reality TV was the only non sport content to make it into the top 10 shows with the most views. The Block Final had a total of 1.8 million viewers, and The Voice 2.4 million, which again, was the only non sport content to win. This in turn creates a paradox, concluding that many Australians watch Reality TV, but struggle to admit it.
In recent years, Reality TV has been seen to become less reliant on TV itself, where TV is now only one of the many platforms on which people can access the Reality TV they enjoy. Instead, it now relies equally on social media, as an effective strategy to get the general public involved, and effectively maintain this involvement. Because of this, many will argue that Reality TV does in fact act as an example of the public sphere, where its ability to do so “lies in the many-to-many modes of communication and networks of distribution.” Reality TV shows like MAFS or Love Island have proven their potential to create spaces and opportunities for discussion around important social issues. For example, viewers of these particular shows are encouraged to engage in conversation about real life issues, including sexism, attitudes towards women, and the idea of marriage in todays contemporary society, all of which arise in both TV shows.
In conclusion, recent research strongly suggests that the growing space of Reality TV facilitates healthy and important discussions, and allows for the contemplation, and the “exchange of information” among all people to ultimately flourish.
References:
Graham, T, Hajru, A. (2011). Reality TV as a trigger of everyday political talk in the net-based public sphere. European Journal of Communication, 26 (1), 18-32. https://swinburne.instructure.com/courses/40896/files/16556355/download?wrap=1
Figure 1. Best Reality TV Shows From The Decade, Ranked, 2020. Retrieved from “punkee.com.au” 2020, https://www.bing.com/images/search?view=detailV2&ccid=bt4a%2b4Fi&id=1AED741B8A19A380BED6125DC56AFC0C50D51F04&thid=OIP.bt4a-. Copyright 2020 from punkee.com.au.
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Week 3: Tumblr’s Nature & Inception
In 2007, David Karp created Tumblr at the young age of 21. The micro-blogging site was originally designed as an easy to use, multimedia, social media platform. It was purchased by Yahoo in 2013, and though not widely used or known, the platform is particularly favoured by young individuals.
Usually described as an equal mix between Twitter and Facebook, Tumblr favours communication through photography and images, and therefore operates more as content creation. The platform does not include personal profiles, nor does it involve any networks of friends. Through short-form blogs open to the user’s customisation, and its original positioning as a creative community, Tumblr is the platform that prioritises visual aesthetics.
Described as an alternative word, Tumblr was designed as a digital platform and cultural forum, where diverse people come together, and bond over mutual passions and desires. After being established on the grounds of community, the platform provides users with a profound sense of normality, and became the platform for all people to share their personal experiences with other users and creators. As a result, the multimedia platform defines only the beginning of raised awareness, and comfortability with conversation about taboo topics. It gives people a chance to “talk back,” despite potentially feeling unheard or unconsidered. It provides opportunity for all to develop their own public voice. It helps users to generate, develop and articulate their own politics on a public scale. It encourages the vulnerable, women and girls in particular. Since Tumblr’s inception back in 2007, the platform ultimately strengthens, encourages and empowers all.
Many feel they can discuss and engage in controversial conversations more freely on Tumblr, because of its alternative feel and environment. This works in combination with their clever platform design, anonymity, and increased personal control, giving users greater opportunities to engage in a wider variety of conversations that many not be appropriate to have on other social media platforms.
Tumblr’s element of anonymity is a huge appeal for many young people. One of the participants in Keller’s research truly believes that Tumblr is the easiest digital space to practice specific acts as young people, especially feminism as women and young girls. Some claim they feel “very anonymous on Tumblr, and I like that,” and others believe that because “nobody knows who anybody is,” Tumblr is “safer,” “deeper,” and “more hidden,” almost like a “black hole.”
Being the unique space that Tumblr is, the platform has very little prioritising in searchability in their overall design. This promotes a sense of freedom, ultimately freeing users from the usual constraints of other, more traditional networked social media platforms. Tumblr’s layout makes it much harder to identify oneself in potential conflict, offering users a greater amount of control over their interactions with others online. Through their carefully considered design affordances, Tumblr avoids feelings of shame for something one has done, or for something that has happened to you.
From 2007 to 2022, Karp has curated a multimedia micro-blogging platform, describing Tumblr as both the hub and the home for many disparate people, looking to strengthen their public voice and ultimately “talk back.”
References:
Keller, J. (2019). “Oh, She’s a Tumblr Feminist”: Exploring the Platform Vernacular of Girls’ Social Media Feminisms. Social Media + Society, 5 (3), 1-11. https://swinburne.instructure.com/courses/40896/pages/week-3-readings?module_item_id=2529002.
McCracken, A. (2020). A Tumblr Book: Platform and Cultures. University of Michigan, 1-394. https://www.fulcrum.org/concern/monographs/x346d608w.
Figure 1. What is the Difference Between Confidentiality and Anonymity, 2019. Retrieved from “pediaa.com” 2019, https://pediaa.com/what-is-the-difference-between-confidentiality-and-anonymity/. Copyright 2019 from pediaa.com.
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