Category Archives: Key Terms

Emphasis of “You”

The Emphasis of “You” is a marketing technique employed by many major marketing programs. It is a focus placed upon the individual and how the individual interacts with technology and is empowered by it.

Websites such as a Google and Amazon focus their marketing and public image around personalization and catering to individual users. However, this apparent emphasis on “you” is a smokescreen to how these technologies pry into our privacy, collect data, and piggyback on our own contributions to the internet. This Emphasis of “You” exploits the human urge to create, connect, and build identities, and companies like Google use this quietly and subversively to harvest data and information from the individual.

The Emphasis of “You” distracts from the greater picture of what is happening because of Googlization, which is Google capitalizing on the sum total of our internet contributions. As a result, the “you” becomes a product of Google, all under the guise of self-determination.

Whatchu Meme?

These past couple weeks we’ve discussed various topics from Memes and Mashups to Black Twitter, the Digital Humanities, and New Media. In the article “Do Artifacts have Politics?” Langdon Winner discusses social determination of technology and naive technological determinism. He says that the concept of the social determination of technology revolves around an invention gaining power through the social or economic system in which it is embedded. This contrasts with the idea of naive technological determinism which focuses on the idea that technology develops as the internal dynamic and then unmediated by any other force, molds society to fit its patterns. For example, Robert Moses was a city engineer who utilized overpasses as a way limiting racial minorities and the lower class from accessing certain parts of New York. He purposely designed nine foot high overpasses throughout the area to prevent buses (which were twelve feet) from entering certain areas. He catered only to those wealthy enough to afford a car and uses his creations to maintain class segregation.

The more I thought about this, the more I started to realize the conscious and unconscious ways that technology has molded human behavior. The introduction of smart phones and social media resulted in fewer face to face interactions and shorter attention spans. Suddenly waiting thirty seconds for a webpage to load becomes too long so we check our emails, Facebook, Snapchats, etc. in the meantime. Whipping out your phone and texting has evolved into an unconscious habit. Tinder has changed the way people date and reinforces the mentality that people are expendable; why should I waste my time with this person when there are more attractive options waiting to be found? A Stanford graduate took this idea to the next level and recently created a $2.1 million app called The League which is essentially Tinder for the successful and good looking. It’s ultimate goal is to create power couples share the same levels of attractiveness, professions, and salaries. It filters out the average looking and the poor (you need to earn a six figure salary and show proof in order to use this app). It’s a reflection of how shallow society has become but you can’t deny the logic behind it.

 

We touched upon how memes are “a unit of cultural information that replicates while still remaining whole” meaning that most things in our society are memes. From fashion to furniture, its the replication not the process that determines whether something is a meme. A mashup is the creation of a new product that samples old products. In my example I used a video that incorporates samples from 6 different country songs to create one new (yet very similar sounding song). The point of the video was to show the country “blueprint” that so many successful songs seem to follow and even though I don’t like country music, listening to this mashup is a guilty pleasure.

https://www.youtube.com/watch?v=wlNgYDotMoE

Lastly we talked about Black Twitter in class and talked about the ways that it allowed black people to express themselves more freely over the Internet than Facebook. I did not understand this concept because I had never encountered it before and I also wasn’t sure how much censorship Facebook could impose on its users anyways. I checked it out after class and my world was forever changed. It is a gold mine for hilarious content. It was difficult finding a meme that was appropriate to post on this blog due to some of the language involved but I managed to find one that captured the jest.

View post on imgur.com

Semiotic Democracy

From “From Memes to Mashups: Creating Content from Content.”:

“William Fisher in Promises to Keep describes digital technology as offering “semiotic democracy” which gives consumers power of cultural meaning making” p87

Semiotic Democracy is a phrase first coined by media studies professor John Fiske. He defines it as the “delegation of the production of meanings and pleasures to [television’s] viewers.” What Fiske means by this is instead of being mindless drones to the television, viewers in fact give their own meaning to what they are watching. In the context of the quote above and in relations to memes, when we take in memes and other such media, we are able to give it our own meaning. This in turn results in the creation of new memes, as we take meaning from a meme and replicate it using our meaning, which can form a new meme that appears to be patterned from the previous one.

Culture of Disposability

From the Burns reading entitled “From Memes to Mashups: Creating Content from Content.”

“In fact, in a culture of disposability, the genre of the mash–up might well have benefited from its underground status, which adds to its subversive cache. The music is effectively contraband and is only permitted to exist to the extent that it remains below a commercial radar.” p. 77

Definition:

  • the notion that products can simply be thrown away, indicating a lack of responsibility for the resources one consumes
  • tiring quickly of clothes, cars, electrical goods, music, etc > throw away > replace
  • disposing of things when they break or fall out of fashion
  • promotes a cycle of consumption
  • causes a person’s relationship with things/items/people to be transient and artificial

The term “culture of disposability” can help to explain the popularity, relevance, success, and dying out of memes and mashups.

Convergence

Convergence is defined as the interlinking of computing and other information technologies, media content, and communication networks that has arisen as the result of the evolution and popularization of the Internet as well as the activities, products and services that have emerged in the digital media space.

 

 

 

 

 

 

 

http://en.wikipedia.org/wiki/Technological_convergence

Public-Purpose Media

Public-purpose media is the idea that one creates something for the audience and contributes to society. In regards to the web series, creators hope viewers can find themselves in their series and discuss certain circumstances like issues with sexuality and race. Many creators who follow the idea of public-purpose media purposefully discuss complex social issues that major networks don’t address so the viewer can have something to relate to. An example of a company that is inspired by the idea of public-purpose media is the Public Internet Channel (www.pic.tv). In their “About” section, they describe their content as “videos and tools to help you live a better life”.  Public-purpose media is a shift in the way we view television, and we can only hope that this trend will continue to grow.

Christine Acham, “Blacks in the Future: Braving the Frontier of the Web Series” in Watching While Black: Centering the Television of Black Audiences

 Image: http://www.lawritersgroup.com/wp-content/uploads/2013/02/web-series.jpg

Black Webtopia

The “Black Webtopia” is an idea that is supported by the many web series that discuss social issues within the Black community that aren’t addressed in mainstream media. The web is home to these “consistent Black narratives” (73), and while this is great, those involved with making contributions to this “Black Webtopia” face downsides as well. Web series often have trouble getting a substantial audience and proper funding which  results in many series having to cancel their production. However, many creators keep contributing to the “webtopia” and it will continue to grow as the web series format gains popularity and creators are inspired by the freedom to create their own series for a specific audience.

 

Christine Acham, “Blacks in the Future: Braving the Frontier of the Web Series” in Watching While Black: Centering the Television of Black Audiences

 digital_utopia

 

http://ww2.hdnux.com/photos/12/05/47/2644469/6/628×471.jpg

Uses and Gratifications Theory

The term “uses and gratifications theory” is mostly used in the article studying players of the SIMS 2, although all articles are related. The article focuses on player motivations in terms of specific uses and gratifications each player receives. It is important to identify the groups being discussed as a young girl gamer will have different uses for playing a game as compared to an adult female gamer. The article “Women and Games” explains this truth by highlighting that the different television programs viewed by young girls and adult women. There are different levels of gamers in terms of how much time they spent playing the game and what they are getting out of it.

 

-Power players, women who play videogames very often, claim to receive gratification in mastering technical skills and competing.

-Moderate female gamers take pleasure in having a distraction from their everyday lives and in that way can utilize games as a form of stress relief.

-The women who do not engage in videogames claim to have no use for games as they are a waste of time and thus receive no gratification from it.

 

According to the articles the term”uses and gratifications theory” is defined as a system of studying and observing motivation.

Assassin’s Creed 3: Liberation

Assassin’s Creed 3: Liberation is a game released in 2012 for the Playstation Vita portable handheld device. The game features Aveline de Grandpre as its protagonist, a young woman of French and African descent, and is set in New Orleans in the years leading up to the American Revolutionary War. Aveline is a unique protagonist as few games feature a singular female or black protagonist. Upon release, AC:L received mixed to positive reviews, currently holding a 70 on Metacritic (http://www.metacritic.com/game/playstation-vita/assassins-creed-iii-liberation). The game was praised for its portrayal of race relations in the time period and Aveline was a well-received character. Unfortunately, the game mechanics, while praised as well made, proved to be a hindrance more often than not, with reviewers complaining that too much time was spent in the restrictive “Lady” persona.

The game mechanics are a very important element of the game’s portrayal of race and gender in the time period. The game lets Aveline “adopt personas that give her varying abilities and constraints. The ‘lady’, who dresses and acts like the wealthy free woman that Aveline is, can fool men by charming them… but she can’t climb building and is weak in a fight… The slave can infiltrate areas under cover of labor. And the assassin persona is, well, less concerned with the historical basis of double consciousness.” (Suellentrop)

Works referenced:

     Chris Suellentrop, “Slavery as New Focus for a Game: Assassin’s Creed Liberation”

http://www.nytimes.com/2014/01/28/arts/video-games/assassins-creed-liberation-examines-colonial-blacks.html?_r=0

Feminization

The process by which feminine attributes or association with the female is linked to an object or concept that in reality has nothing to do with one’s gender. An example of this is outlined in Casual Threats: The Feminization of Casual Video Games, the study which describes the phenomenon by which ‘casual games’ are given a female, derogatory designation in relation to the larger field of games. As is the case with casual games, feminization often occurs in a larger, male-dominated structure as a means to marginalize the subject of the feminization, but also to place certain things in a strong, ‘masculine’ position to contrast.

In this case ‘Hardcore Games’ are made the masculine counterpart to the female ‘Casual Games’.

Vanderhoef, J. (2013) Casual Threats: The Feminization of Casual Video Games. Ada: A Journal of Gender, New Media, and Technology, No.2. doi:10.7264/N3V40S4D

 

Key Term: Linguistic Profiling

Linguistic Profiling

Linguistic profiling is a VOICE based assessment. It is similar to racial profiling in that it uses cues to determine ethnicity and gender (and sometimes sexual orientation). Unlike racial profiling, linguistic profiling uses vocal cues rather than physical cues. It brings a race division through hegemonic principals in the virtual world, creating the “us” versus “them” mentality. For example, in telephone conversations with financial institutions, if a caller sounds Black or Mexican, these institutions may refuse to extend services to the caller. In the virtual gaming world, where many gamers may want their personal information to stay private, linguistic profiling discloses our gender, race, and other information through our voice and vocal mannerisms. Moreover, during LIVE GAMING, racial and gender inequality are common based on how a gamer sounds, determining the atmosphere of the game space:

For example, we see this with Conscious Daughters’ gaming:

MissUnique: Hey BizzyBoy, what do you think of girl gamers?

BizzyBoy: Hate em! They suck.

(Other male gamers in session begin laughing)

BigState88: Your score proves it. Look at your K/D.

(KD refers to the kill to death ratio within a game. MissUnique’s KD was 0 kills and 8 deaths)

MissUnique: Well I’m not playing for a purpose. I want guys like you to pay more attention to women and…

(BizzyBoy cuts MissUnique off and begins talking)

BizzyBoy: Oh shut the fuck up.

BigState88: Mute her ass. Like I’m getting ready to.

BizzyBoy: Yeah I’m about to…

(Collective Organizing, Individual Resistance, or Asshole Griefers? An Ethnographic Analysis of Women of Color In Xbox Live)

John Scalzi stated that “‘dudes’ as the intended audience [for gaming] as a metaphor for explaining how race and gender confer automatic, un-asked for, MECHANICAL advantages of players who are lucky enough to be born white and male.” The key word here is mechanical. In live gaming, hegemony and misogyny come to surface through vocalization. Race and gender separation become virtual and auditory entities as opposed to the physical manifestation. When female or other minority voices appear on live gaming: it’s no longer “us” because “them” has interrupted our white, male, and heterosexual world. The virtual world becomes a space unwelcome to female and minority gamers. The hegemonic principals of the virtual world are solely dependent on linguistic profiling.

(Queer Female of Color: The Highest Difficulty Setting There Is? Gaming Rhetoric as Gender Capital)

 

Integration

 

The level to which female gamers are able to reconcile gaming with the rest of their lives.   The level of integration can be seen in terms of the ability of the gamer to accept the hostility towards women within games or gaming culture.  “Power gamers” have a tendency to integrate technology and their gender better than “moderate gamers”, for whom there must be a more careful negotiation.  Non-gamers reject gaming technology completely and assert themselves in ways that are more traditionally feminine.