osscom The Rise of Digital Media

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1 The Rise of Digital Media

2 Timeline: Pre-historical phase l 40s Von Neumann, Turing l 1954 Boole: binary code l 1957 Sputnik

3 Timeline: historical phase

4 The Rise of Digital Media

5 Timeline: Pre-historical phase l 40s Von Neumann, Turing l 1954 Boole: binary code l 1957 Sputnik

6 Timeline: Computer and the net l 1965 Table computer l 1969 Arpanet l 1971 First l 1974 Ethernet l 1975 Personal computers

7 Timeline: Bases of Digital Turn l 1979 Emoticons l 1981 Mavica Sony, first digital camera l 1982 Time declares computer character of the year, TCP/IP protocol l 1984 Fidonet, Apple Macintosh l 1985 Windows, modem, National Domains, THE WELL l 1988 Ithiel de Sola Pool: convergence l 1989 First chat line, HTML and World Wide Web

8 Timeline: the Golden Age l 1991 High Performance Computer Act l 1992 webcam l 1993 Mosaic, first newspapers on line, Netscape at Wall Street, Yahoo, Linux l 1995 DVD, MSN, Amazon, EBay l 1996 Nokia 9000 Communicator l 1997 Six Degrees, first social network l 1998 MP3, Google, ebook readers, e-commerce l 1999 DSL, My Space, Napster

9 Timeline: after the Crisis l 2000 Nasdaq crackdown l 2001 Wikipedia, Second Life, Apple ipod l 2003 itunes l 2004 Flickr, Facebook, Librié (Japanese ebook) l 2005 Youtube, Tim O Reilly: Web 2.0 l 2006 Twitter l 2007 Apple iphone l 2010 Apple ipad

10 Digital Keywords l Convergence (De Sola Pool, 1988) l Negroponte (1999): digitalisation=convergence l Jenkins (2006): digitalisation=a specific form of convergence l Computer and the net as metamedia l Writing l Hypertext l Image

11 Digital Keywords (2) l Synthetic communication l Speed (see wiki=fast) l Organized mix l Artificial l Globalisation l See network society l Sociable power l See Foucaultian perspective

12 WHAT IS AN AUDIENCE IN THE DIGITAL LANDSCAPE?

13 An Historical Sight: assumptions The concept of audience is connected to the specificity of the public of radio (and then of television): The reception of the message is instantaneous and concurrent The reception is mainly domestic The reception occurs through a single medium

An Historical Sight: a double turn Audience research: progressively abandoning the opaque interpretation of reception practices typical of

poststructuralist tools deriving from the crisis of structuralism and its assumptions cfr.

14 An Historical Sight: a double turn Audience research: progressively abandoning the opaque interpretation of reception practices typical of psycosocial researches on media effects progressively introducing a deepener reading of reception and interpretation practices (using poststructuralist tools deriving from the crisis of structuralism and its assumptions cfr.eco) Marketing research and audience measuring: progressively ignoring the core questions of previous researches (for instance about perceived quality) focusing on the pure reception action.

15 An Historical Sight: digitalization The current media landscape, brought in by digitalization, is challenging some assumptions on traditional audiences. On practices The reception of the message is no more always instantaneous and concurrent The reception is no more mainly domestic and shared, but mobile ad individual The reception occurs through different media

An Historical Sight: digitalization The current media landscape, brought in by digitalization, is reinforcing some assumptions on traditional audiences: Audience studies Reception practices are read

16 An Historical Sight: digitalization The current media landscape, brought in by digitalization, is reinforcing some assumptions on traditional audiences: Audience studies Reception practices are read as part of everydaylife, and somehow related to public life (Livingstone 2005) Media are more and more read also as material technologies and cultural devices Audience practices are read as a complex set of activities including interpretation and use of media contents and their interaction with everydaylife practices (new routines, power relations in families )

17 Stressing audience l From the theoretical point of view the concept of audience has been stressed including: l Multidimensionality and performativity l Diffusion and extension (pervasiveness) l Networkedness Some of the characteristic of these new audiences can be useful to go a step forward

Multidimensional (Alasuutari 1999) and Performative

Performativity goes beyond the production of UGC

including: Cultural production as a diffused social

products referring to specific cultural and social

(and their, so called, cultural capital).

products audiovisual cultural products (acquiring,

18 Multidimensional (Alasuutari 1999) and Performative (Abercrombie and Longhurts 1998) audiences Performativity goes beyond the production of UGC (and the acquisition of a voice in media space) including: Cultural production as a diffused social enhanced activity ability/power to create ad share audience tales of media experience. testifying them in verbal or mash up cultural products referring to specific cultural and social milieu and aimed at building social relationships (and their, so called, cultural capital). Re-materialization of the reification cultural of products audiovisual cultural products (acquiring, sharing, archiving them) and re-defining bottom up their lifecycle. Some publics are the ability to use self generated knowlingly media languages for self representation and sociability referring to self generated publics.

Extended and diffused audiences Two levels: Audience practices the event are to be part indipendent

between audience private and public spaces) festive or routine times Being a member of an audience

Rather it is constitutive of everyday life (Abercrombie e Longhurst 1988) Re-location of audience

of media Audience activities are anchored experience to: individual dailylife and time budget

19 Extended and diffused audiences Two levels: Audience practices the event are to be part indipendent of of: an audience the awareness to be specific physical spaces (weakening boundaries part of an between audience private and public spaces) festive or routine times Being a member of an audience is no longer an exceptional event, nor even an everyday event. Rather it is constitutive of everyday life (Abercrombie e Longhurst 1988) Re-location of audience practices: individual and social networks culture consumption paths crossing smootly different kind of media Audience activities are anchored experience to: individual dailylife and time budget social networks in real life (often defining the context of media use and the media culture) socio-technical cross-media paths (Castells 1999)

20 Networked publics (Varnelis 2008) Audience as an imagined community emerges at the intersection of cultural/ relational/social practices and media texts (involving people, technologies and practices). Audience practices are part of the cultural The shared culture of these production process of imagined communities real and virtual social emerges among discourses, social networks exchanges (often mediated) and reception practices. Audiences are socially constructed These shared cultures are fragmented, multiple, differentiated.

wide set of people, dispersed and stable; joint by an interest, practice (i.

21 Some considerations/1 Media as an imagined community (aggregating around media and cultural products) still exist and interact with other social formations. wide set of people, dispersed and stable; joint by an interest, practice (i.e media consumption) that can pursue common goals. where people know each other; members are aware of their common belonging; share the same values and cultures; have stable relationships

other practices and new tools changing shapes and tools of

22 Some considerations/1 Media as a set of specific activities (also in the form of reception events ) still exist and interact with other practices and new tools changing shapes and tools of audiencing (i.e. social networks) Interact with a wider set of practices of.

23 Issues and research focuses l Boundaries among lifeworlds are constantly crossed by individuals and groups: l l l in everydaylife crossing individual and group identities with the audience experience being part of different groups relating to media interacting (and sometimes reinforcing) the capacity of cultural industry to colonize and shape imaginary Everyday life Digital networks Audience Cultural industry Social formations

24 Thanks!

Towards an augmented reality fourth generation social networks

Towards an augmented reality fourth generation social networks Andrés Montero The Concept Foundation, Madrid, Spain Borja Belaza Conception Singularity Innovations, Madrid, Spain contact@conception.is