Fragmentation versus convergence: University students in Brussels and the consumption of TV series on the Internet

info:eu-repo/semantics/published

Producing interactivity : Does media convergence promote interactivity and audience participation?

This study investigates the process of producing interactivity in a converged media environment. The study asks whether more media convergence equals more interactivity. The research object is approached through semi-structured interviews of prominent decision makers within the Finnish media. The main focus of the study are the three big ones of the traditional media, radio, television and the printing press, and their ability to adapt to the changing environment. The study develops theoretical models for the analysis of interactive features and convergence. Case-studies are formed from the interview data and they are evaluated against the models. As a result the cases arc plotted and compared on a four-fold table. The cases are Radio Rock, NRJ, Biu Brother, Television Chat, Olivia and Sanoma News. It is found out that the theoretical models can accurately forecast the results of the case studies. The models are also able to distinguish different aspects of both interactivity and convergence so that a case, which at a first glance seems not to be very interactive is in the end found out to receive second highest scores on the analysis. The highest scores are received by Big Brother and Sanoma News. Through the theory and the analysis of the research data it is found out that the concepts of interactivity and convergence arc intimately intertwined and very hard in many cases to separate from each other. Hence the answer to the main question of this study is yes, convergence does promote interactivity and audience participation. The main theoretical background for the analysis of interactivity follows the work of Came Fleeter, Spiro Kiousis and Sally McMillan. Heeler's six-dimensional definition of interactivity is used as the basis for operationalizing interactivity. The actor-network theory is used as the main theoretical framework to analyze convergence. The definition and operationalization of the actor-network theory into a model of convergence follows the work of Michel Callon. Bruno Latour and especially John Law and Felix Stalder.

Most Haunted and the Convergence of Traditional Belief and Popular Television

Koven, M. (2007). Most Haunted and the Convergence of Traditional Belief and Popular Television. Folklore. 118(2), pp.183-202. RAE2008

Most Haunted and the Convergence of Traditional Belief and Popular Television.

LivingTV's flagship series, Most Haunted, has been haunting the satellite network since 2002. The set-up of the series is straightforward: a team of investigators, including a historian, a parapsychologist, and "spiritualist medium" Derek Acorah, "legend-trip," spending the night at some location within the United Kingdom that is reputed to be haunted, with the hopes of catching on video concrete proof of the existence of ghosts. However, unlike other reality television or true-life supernatural television shows, Most Haunted includes and addresses the audience less as a spectator and more as an active participant in the ghost hunt. Watching Most Haunted, we are directed not so much to accept or reject the evidence provided, as to engage in the debate over the evidence's veracity. Like legend-telling in its oral form, belief in or rejection of the truth-claims of the story are less central than the possibility of the narrative's truth - a position that invites debates about those truth-claims. This paper argues that Most Haunted, in its premise and structure, not only depicts or represents legend texts (here ghost stories), but engages the audience in the debates about the status of its truth-claims, thereby bringing this mass-mediated popular culture text closer to the folkloristic, legend-telling dynamic than other similar shows.

Convergence's fundamental question

This paper asks the fundamental question of whether editorial managers and journalists are embracing convergence for business reasons or to do better journalism. Media organizations around the world are adopting various forms of convergence, and along the way embracing a range of business models. Several factors are influencing and driving the adoption of convergence—also known as multiple-platform publishing. Principal among them are the media's desire to reach as wide an audience as possible, consumers who want access to news in a variety of forms and times (news 24-7), and editorial managers' drive to cut costs. The availability of relatively cheap digital technology facilitates the convergence process. Many journalists believe that because that technology makes it relatively easy to convert and distribute any form of content into another, it is possible to produce new forms of storytelling and consequently do better journalism. This paper begins by defining convergence (as much as it is possible to do so) and describing the competing models. It then considers the environments that lead to easy introduction of convergence, followed by the factors that hinder it. Examples of converged media around the world are provided, and suggestions offered on how to introduce convergence. The paper concludes that successful convergence satisfies the twin aims of good journalism and good business practices.

Intersection of ideals : journalism, profits, technology and convergence

Journalism needs advertising and advertising needs journalism: advertising pays for good reporting just as good reporting attracts customers for advertising. Problems arise when the equation becomes unbalanced, such as during the recessions in the early part of the twenty-first century. This paper asks the key question of whether editorial managers and journalists are embracing convergence at this time for business reasons or to do better journalism. It begins from the perspective that media organisations around the world are adopting various forms of convergence, and along the way embracing a range of business models. Several factors are influencing and driving the adoption of convergence - also known as multiple-platform publishing. Principal among them are the media's desire to reach as wide an audience as possible, consumers who want access to news in a variety of forms and times (news 24/7), and editorial managers' drive to cut costs. The availability of relatively cheap digital technology facilitates the convergence process. Many journalists believe that because that technology makes it relatively easy to convert and distribute any form of content into another, it is possible to produce new forms of storytelling and consequently do better journalism. This paper begins by defining convergence (as much as it is possible to do so) and describing the key competing models. It then considers the environments that lead to easy introduction of convergence, followed by the factors that hinder it. Examples of converged media around the world are provided, and suggestions offered on how to introduce convergence. The paper concludes that successful convergence satisfies the twin aims of good journalism and good business practices.

Fallen Awake

Photo from process: David Megarrity, albury 2007 - example of convergence of writing/design/perfomance/video RESEARCH COMPONENT Fallen Awake was a practice-led research process that opened the development process to the influence of collaborative authorship across artforms. The project focused on of how multiple artforms and artists converge their vision into a singular text, in the context of collaborative authorship. The work also uncovered new questions relating to the dream-life of children. The stimulus for the work was a selection of verbal statements by three-year-olds, raising complex ethical questions as the project progressed about the child’s voice, mediated by the adult artist, for the eventual presentation to a child audience. With the text emergent and open to influence, this project raised other questions related to the lived experience of children, dreaming, creative play and the development of consciousness. It pushed the creative process to experiment with associative, rather then causal narratives, and to negotiate the challenges this raises for traditional story structures and the development processes that usually shape them. It led to the consideration of each artforms and artist as equal contributors in the development of story: traditionally the province of the sole author. The outcomes appeared in various artforms, none of which was live-performance based. An ‘artist’s book’ by the designer, a ‘video treatment’ - a DVD capturing the approach to the performance and a script for an innovative large-scale performance. Fallen Awake was developed with the assistance of Strut & Fret Production House, Arts Queensland, and HotHouse Theatre, Albury Wodonga, through their ‘Month in the Country’ initiative.

Artists, audience and participations

We spent a fare amount of time thinking and debating where to draw the line between what is and what is not single-screen-based interactive media. This really is a tricky category. I would like to use this opportunity to raise certain issues about this very new category introduced this year to ifva. First of all, what do we mean by "interactive" media? If we conceptually or philosophically try to describe it, almost every artifact (not only those who are intended as a piece of art) can be perceived as "interactive" media as soon as one sees/ recognises it and begins interacting with it physically and/or mentally. What about when we limit this to computer related media? This certainly limits the scope, but well, it is becoming increasinly difficult to find art and design that are considered innovative without the use of computer. the term "single-screen" certainly makes it more specific, but as we saw from a range of works submitted to this category, people do come up with various interpretations to it. Some simply submitted work that can be viewed with computer screen, which didn't allow much user participation, while others provided various degrees of user/audience participation. What does "singel-screen-based interactive media" mean?

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Audience and Market Foresight Trends and Foresight in Digital Media

This report provides an overview of trends in digital media over the period from 2009-2015. It applies scenario analysis to provide foresight on macro trends in the economy, politics, society and culture that will impact upon digital media market development in Australia, and the prospects for growth in online and digital media industries. It considers developments in the diffusion of innovations in advertising and marketing, mobile media, user-created content, and legal issues for consumers engaging in online transactions.

Audience & Market Foresight : Consumer Trends in Digital News and Information in Australia

We all know that the future of news is digital. But mainstream news providers are still grappling with how to entice more customers to digital news. This paper provides context for a survey currently underway on user intentions towards digital news and entertainment, by exploring: 1. Consumer behaviours and intentions towards digital news and information use; 2. Current trends in the Australian online news and information sector; 3. Issues and emerging opportunities in the Australian (and global) environment. Key influences on digital use of news and information are pricing and access. The paper highlights emerging technical opportunities and flags service gaps as at December 2008. These gaps include multiple disconnects between: 1. Changing user intentions towards online and location based news (news based on a specific locality as chosen by the user) and information; 2. The ability by consumers to act on these intentions via the availability and cost of technologies; 3. Younger users prefer entertainment to news; 4. Current digital offerings of traditional news providers and opportunities. These disconnects present an opportunity for online news suppliers to appraise and resolve. Doing so may enhance their online news and information offering, attract consumers and improve loyalty. Outcomes from this paper will be used to identify knowledge gaps and contribute to the development of further analysis on Australian consumers and their behaviours and intentions towards online news and information. This will be ndertaken via focus groups as part of a broader study by researchers at the Creative Industries Faculty at the Queensland University of Technology supported by the Smart Services Cooperative Research Centre.

Produtzung : Von medialer zu politischer Partizipation

Wahrscheinlich war es ja nur ein Versuch einer alteingesessenen Institution der Massenmedien, sich bei „den Leuten, die man früher ‚das Publikum‘ nannte“ („the people formerly known as the audience“; Rosen, 2006, n.pag.) wieder einzuschmeicheln. Dennoch, die Anerkennung des kollektiven „You“ in YouTube und anderen kollaborativen Onlineplattformen als Person des Jahres durch das amerikanische Magazin Time (Grossman, 2007) liefert ein weiteres Indiz für die wachsende Bedeutung solcher Projekte zur gemeinschaftlichen Produktion und Distribution von Inhalten. Kreative Websites wie Flickr und YouTube, kollaborative Wissenssammlungen von Wikipedia über Digg bis zu Google Earth, nutzergesteuerte Diskussionen in Slashdot, OhmyNews, und der allgemeinen Blogosphäre, aber auch die Softwareentwicklungsgemeinschaften im Open‐Source‐Bereich – sie alle dienen als Beispiele für diese nun etablierten Trend zur Entwicklung neuer Produktions‐, Geschäfts‐, Gemeinschafts‐ und Selbstlenkungsmodelle, die wesentlich durch zunehmend komplexere Web‐2.0‐Tools unterstützt werden. Hinter diesen Beispielen wird eine allgemeiner Tendenz sichtbar, die aus ökonomischer Sicht bereits von Yochai Benkler als „commons‐based peer production“ (2006), und von Eric von Hippel als „democratizing innovation" (2005) beschrieben worden ist. Henry Jenkins spricht zudem von einer „convergence culture“ (2006), in der solche nutzergesteuerten Projekte operieren, und es können auch Verbindungen zwischen diesen stärker aktive gewordenen Nutzern und Alvin Tofflers professionellen Konsumenten, den „Prosumers“ ziehen (1971).

Research Monograph: Managing ubiquitous eco cities: telecommunication infrastructure networks, technology convergence and intelligent urban management systems

Efficient and effective urban management systems for Ubiquitous Eco Cities require having intelligent and integrated management mechanisms. This integration includes bringing together economic, socio-cultural and urban development with a well orchestrated, transparent and open decision making mechanism and necessary infrastructure and technologies. In Ubiquitous Eco Cities telecommunication technologies play an important role in monitoring and managing activities over wired, wireless or fibre-optic networks. Particularly technology convergence creates new ways in which the information and telecommunication technologies are used and formed the back bone or urban management systems. The 21st Century is an era where information has converged, in which people are able to access a variety of services, including internet and location based services, through multi-functional devices such as mobile phones and provides opportunities in the management of Ubiquitous Eco Cities. This research paper discusses the recent developments in telecommunication networks and trends in convergence technologies and their implications on the management of Ubiquitous Eco Cities and how this technological shift is likely to be beneficial in improving the quality of life and place of residents, workers and visitors. The research paper reports and introduces recent approaches on urban management systems, such as intelligent urban management systems, that are suitable for Ubiquitous Eco Cities.