Friday, April 29, 2016

Course Reflection


     Writing in Digital Environments was not a typical class with lectures, quizzes, and exams. Rather, it centered primarily on the discussion of topics covered in the class readings as well as a rhetorical analysis of a digital writing environment and the contribution to the class webpage. It was through the readings and discussions that I had my most significant learning experiences in the course.

     One of these learning experiences was the concept of learning to do more with less in terms of creating digital writing environments. Often times, website publishers feel like the more content they can put on their webpage, the more opportunities they have to engage with and/or sell to users. However, too much content can be very overwhelming for users (take The Cheesecake Factory’s menu for example). In order for a digital writing environment to make the greatest impact on its users, the users need to come into contact with the most engaging content. When a digital writing environment has an overwhelming amount of content, the most engaging components can become lost in the crowd. Not only is the “more with less” method beneficial to users, but it is also beneficial to those who maintain the site. Less content means less to manage and up-keep, and more attention can be devoted to the most important content. The concept of “more with less” aided us in our group webpage project as it helped us to plan what content to include and exclude.

     Another significant learning experience I had in the course had to do with the concept of spreadability. Whenever I used to see content online start to become popular and begin to spread through multiple mediums, I never really thought much of it. However, after reading Henry Jenkin’s book Spreadable Media and discussing the concept of spreadability in class, I learned that there are many details that can cause content to spread. One cause of spreadability Jenkins lists in his book is relevance to multiple audiences. If content is only applicable to a niche audience, it will only spread within that group. However, if content can apply to multiple audiences, it will surely be able to spread much further. Content also becomes spreadable when it is easily reusable in a variety of ways. When users are able to rehash content to apply to different audiences and contexts, that content is more likely to spread. Audiences also tend to spread material when it is part of a steady stream of content. As multiple instances of the content is created, it almost becomes its own genre. When audiences see a new addition has been made, they are more likely to share it.

     Overall I enjoyed my experience in this course. It allowed me to adapt a different perspective when viewing digital environments, and helped me learn to think more rhetorically. I no longer take digital content at face value. Rather, I view it more analytically to try to understand how and why certain decisions were made in the creation of various digital writing environments.

Twitter Reflection

     When I first learned that we would need to create and actively use a Twitter account for this class, I was not entirely thrilled. While I used to participate more actively on Twitter in high school, I have since become much less involved in social media. The thought of having to force myself to be active on this social media platform once again was unsettling. However, the use of this digital writing environment throughout the semester was able to supplement our experience in the class. Using our course hashtag #ENC4416, we were able to share information with one another relevant to the topics covered in class. As we completed class readings, Twitter allowed us to share resources with one another to help us better grasp the concepts that we were learning. Twitter also allowed us to directly reach out to the authors of these books and ask them questions. Before this medium existed, many of these people would have seemed to be unreachable. With Twitter, speaking with these people is as simple as drafting a text message. One purpose for which we used Twitter in the class was to share articles and stories which were mentioned during discussions. Often times when a classmate would reference something they had seen online during one of our class discussions, myself or another classmate would find what was being referenced and make it available to the rest of the class using our hashtag. This allowed us all to become more involved even after the class discussion had ended. Rather than just hear what a classmate had to say about the article, we could view and experience it for ourselves firsthand. Overall, I would say that the use of Twitter was a beneficial component of the course that supplemented the learning of key concepts and catalyzed class discussions.
 

Thursday, April 28, 2016

ENC4416 Website

Check out the official website for Writing in Digital Environments here!

Spreadable Media Ch. 2-3

     Residual value, generally speaking, is the value that remains in an object when its useful life has ended. “Useful life” refers to the use for which it was made. For example, the use for which a car is designed is to serve as a mode of transportation. Once a car reaches the end of its useful life, it can no longer be used for that purpose. The only value that remains is the car’s residual value, which in this case would be the value of the scrap metal and various vehicle parts that could potentially be used in other vehicles. Residual value in the context of physical and digital objects can be thought of as the value an object has in its afterlife. The authors in Spreadable Media discuss the residual value of digital content in terms of cultural and economic value. Cultural residual value exists largely due to the nostalgia of content from the past such as retro video games. Economic residual value exists largely due to the discovery of forgotten content from the past that is made newly available. An example of economic residual value that is discussed in Spreadable Media is the resurfacing of old WWE videos. The use for which these videos were made was the promotion of local WWE events. When the usable life of these videos ended, they were thought to have no residual value and many of these programs were lost. As time passed, however, demand was created for these old videos, thus increasing their residual value. Digital environments catalyzed this value as fans were easily able to share and distribute them.


     Transmedia engagement is the use of multiple mediums to encourage and increase levels of engagement by viewers while also creating new sources of revenue for the creators. Examples of the multiple ways of engaging a narrative using transmedia engagement include webisodes (online episodes that supplement the main story or tell new stories in relation to the main story), comics, video games, and interactive websites. An original example of transmedia engagement is the interactive viewing experience for AMC’s Breaking Bad called Story Sync. During the live airing of a new Breaking Bad episode, users could go to this interactive website. In real time as the show progressed, users be given polls, quizzed on previous occurrences in the show’s history, reminded of occurrences from previous episodes that relate to a particular scene in the new episode, and much more. This interactive experience supplemented the television show, and encouraged users to watch the new episodes as they aired in real time. Breaking Bad Story Sync also served as an additional source of revenue for the show’s creators as they obtained ad revenue not only from the airing of the show on television, but also from the traffic generated on their website. Since Breaking Bad’s run has ended, the spinoff show Better Call Saul which is airing currently has its own Story Sync during airings of episodes, and continues to keep Breaking Bad’s viewers engaged.

Net Smart Ch. 3-4

     The term “playbor” refers to a combination of play and labor. Playbor often involves turning a laborious task into an entertaining game. Internet-goers who play these games essentially become sources of free labor for the companies who create the games. One example of playbor is Google Image Labeler (also known as the ESP Game) which was online between 2006 and 2011. Two randomly matched players with no way of communicating with one another would be shown an image for which they would submit descriptive tags. Players received points when they both submitted identical tags. While some may view this as exploitation for free labor, I believe playbor is a win-win scenario as both parties benefit from the game. In this specific example, Google benefits as the accuracy of their image search is improved at no cost to them. The players benefit as they receive a free form of entertainment. Instead of receiving monetary compensation for their work, players are compensated by being entertained. Google is in no way forcing these players to contribute free labor. Rather, the players are doing it because they find it entertaining. If someone were to not find the game entertaining, they could simply stop playing. Only in a situation where one party received nothing in return for their participation would I consider playbor to be exploitative. Otherwise, since both parties receive some form of compensation, playbor is not an exploitative practice.

 
     Collective action involves a group of people coming together to work toward the achievement of a common goal. Many institutions exist, both physically and digitally, that practice collective action. Institutions of collective actions are very relevant to digital writing, as digital writing has allowed for significant magnitudes of collective action that may not have been possible otherwise. One great example of this from chapter 4 of Net Smart is the search for a man named Jim Gray who disappeared at sea. Satellite photographs of the area in which he went missing were provided by Google and NASA. These photographs were then divided into five hundred thousand pieces by Amazon which were examined by twelve thousand online volunteers. Although he was not found, this seemingly impossible task of examining forty thousand square miles of ocean was made possible thanks to digital writing. An original example of collective action that I experienced personally came from the institution of GoFundMe.com. In May of 2015, a friend of mine from high school was killed in a hit and run. Shortly after this happened, a GoFundMe page was created to raise money for her family. In a short time, over four thousand dollars was raised by seventy five donors. Digital writing environments like GoFundMe.com provide the capability to foster collective action quickly and efficiently. They make it easy to share a cause and take action with minimal effort. I am confident that the amount of money raised in that short time span would not have been possible without the existence of institutions of collective action in a digital environment.

Net Smart Ch. 1-2

      In chapter 1, Sherry Turkle argues that “controlling relationships becomes a major theme in digital communication.” Turkle is referring to the increased level of control that one experiences in digital communication versus face-to-face interactions. When communicating face-to-face, responses are essentially reflexive and instantaneous. When communicating digitally, one is able to take as much time as they desire to draft responses. With this level of control, one is able to take the time to make sure that they are saying exactly what they want to say in exactly the way they want to say it. This increased control can be negative as it makes interactions somewhat less fluid and natural. When communicating digitally, people are able to express themselves in the ways that they want to be received. The digital medium provides them with the time to craft the ways in which they express themselves. With the spontaneity of face-to-face communication, people get a more true sense of who a person is by the way they express themselves in that moment. Another aspect of control that is acquired through digital communication is the ability to interact with multiple people simultaneously. However, the increased quantity of interactions may come at the expense of the quality of those interactions. If you have ever tried to hold a face-to-face conversation with someone who is also involved in one or more digital conversations, you know exactly how frustrating that can be. The quality of that interaction will almost certainly be negatively affected as they are dividing their attentional resources amongst multiple conversations, rather than fully investing their attention in the face-to-face conversation. Digital communication can be a great tool, but people who use it should not allow it to come at the expense of the quality of face-to-face interactions.

 
     In chapter 2, Rheingold discusses “triangulating.” This is a form of crap detection that involves finding three different, credible sources to validate information that is found online. For example, in November 2015 Donald Trump tweeted an infographic stating that 97% of the murders of black people are by black people and 81% of the murders of white people are by black people. The image cites the source of this information as being the “Crime Statistics Bureau in San Francisco.” A quick internet search which reveals that this bureau does not even exist provides the first point of the triangle. A search for available data on this topic brings us to FBI.gov. Here, we find data for 2014 that shows the killings by white people are actually 5 times higher than Trump’s infographic stated and killings by black people are actually 5 times lower than Trump’s infographic stated. This serves as the second point of the triangle. For the third and final point of the triangle, we should try to find where this infographic originated. Placing the image into a Google image search reveals the earliest tweet in which the infographic appeared. It was originally tweeted by an account with a swastika as the profile picture and a bio that reads, “We should have listened to the Austrian chap with the little mustache.” With these three points, we can conclude that the image was clearly created by a racist group with the intention of spreading disinformation.