Hybrid media consumption

Maruyama, Misa; Robertson, Scott P.; Douglas, Sara; Semaan, Bryan; Faucett, Heather

doi:10.1145/2531602.2531719

Cited by 41 publications

(18 citation statements)

References 32 publications

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“…But they also face many of the same issues faced in other political discourse online, including a filter bubble effect, fear of provoking others, and reaching an unwanted audience [20]. Furthermore, using social media alongside a debate can influence viewers' opinions in favour of the online majority [33,34], which raises concerns about the implications of encouraging political second screen use.…”

Section: Second Screens and Political Discoursementioning

confidence: 99%

“…Political debates are a key point in election campaigns, where social media activity is particularly high. Previous research has explored how Twitter is being used in this context [2,7,21], what motivates viewers to use their devices [20], and the effect of social media on opinion formation during debates [33,34]. What remains is to identify directions for the development of appropriate second screen tools that cater to viewers' needs and address the current issues with political discourse online more broadly.…”

Section: Introductionmentioning

confidence: 99%

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Audience and Expert Perspectives on Second Screen Engagement with Political Debates

Gorkovenko

Taylor

2019

Proceedings of the 2019 ACM International Conference on Interactive Experiences for TV and Online Video

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Televised debates remain a key point in elections, during which there are vast amounts of online activity, much of it conducted through personal devices or second screens. Amidst growing recognition of the influence of online political discourse, we explore the issues and opportunities arising at this specific point in election cycles, using a design-led multi-stakeholder approach to understand both the audience and expert perspectives. Workshops with debate viewers highlighted six key issues and possible solutions, which were encapsulated in four speculative design concepts. These were used to prompt further discussion with political and media experts, who were able to identify the implications and challenges of addressing the opportunities identified by the participants. Together, these perspectives allow us to unravel some of the complexities of designing for this multifaceted problem. CCS CONCEPTS• Human-centered computing → Human computer interaction (HCI).

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Section: Second Screens and Political Discoursementioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Audience and Expert Perspectives on Second Screen Engagement with Political Debates

Gorkovenko

Taylor

2019

Proceedings of the 2019 ACM International Conference on Interactive Experiences for TV and Online Video

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“…Similarly to audience response systems, their purpose is to create Art/Performance DIS 2016, June 4-8, 2016, Brisbane, Australia a complementary communication channel for a specific environment, such as a conference or a classroom [28,34,45]. Most commonly, backchannels are message boards or chats, but live tweeting through a particular hashtag in Twitter has recently become increasingly popular [25,27,29].…”

Section: Audience-controlledmentioning

confidence: 99%

Live Participation

Nelimarkka

Kuikkaniemi

Salovaara

2016

Proceedings of the 2016 ACM Conference on Designing Interactive Systems

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Tools for supporting performer-audience interaction have been gaining increasing interest in HCI community recently. They encompass a wide range of systems from simple polls to live tweeting and backchannel chats. However, a lack of unifying conceptual framework hampers their efficient development and deployment in events. In this paper, we develop a notion of live participation and present a live participation system that aims to capture performer-audience interaction systems' salient design-relevant characteristics. With user studies, we identify central characteristics of live participation (RQ1) and explore the diversity of types of live participation situations (RQ2). The identified concepts-extended performance, integration work, and episodes-provide the groundwork for further design of live participation systems and more engaging audience interactions.

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“…The combination of watching television with online interactive practices constitutes a media hybridity (Maruyama et al, 2014;Andrew Chadwick, 2013). Jenkins describes this phenomenon in terms of "convergence culture" (2006) in which content flows across "old" and "new" media.…”

Section: Comment [Af4]mentioning

confidence: 99%

Networked idiots: Affective economies and neoliberal subjectivity in a Russian viral video

Khalikova

Fish

2016

Global Media and Communication

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Idiot is usually a term of derision. In this article, we reconsider the common meaning as designating a stupid person and return to an earlier etymology as signifying a private and independent individual. In ancient Greece, being idiotic meant engaging in the contemplative process of becoming an individual. At times, this pursuit of individuation differentiated such individuals as their acts occurred in public and were seen as absurd, out-of-the-ordinary, and, frankly, idiotic, as most now know the term. With the widespread use of social media and digital video, these once private or semi-public acts of individuation often become explicitly public acts for others to see, critique, and mimic. Social media has made it possible for these explorations of self to circulate where their emotional intensities resonate with or are rejected by viewers, are captured for profit by media corporations, and leveraged by their producers into media careers. This article describes this affective economy of idiotic videos in the Russian language and how the history of one internet video illustrates the circulation, capture, and self-capitalization attendant with neoliberalism. Key Termsvideo, affect, capture, neoliberalism, idiot, Russia 2 Networked IdiotsCalling something idiotic is incendiary. In common use, the term is synonymous with being stupid or unskilled. In this article, we take a different approach to "idiots" by returning to its original ancient Greek etymology as describing unique, private citizens (Curtis, 2013). The idiot is an independently minded individual whose naive confidence enables explorations of the socially liminal, without concerns to "save face" by avoiding embarrassment (Goffman, 1955). Recently, media scholars have redeemed the term and linked it to the circulation of emotional intensities in online affective economies (Hands, 2014;Goriunova, 2013;Horeck and Kendall, 2014). From this theoretical perspective, we analyze one Russian-language internet video and follow what happens to its producer as he becomes famous and the video as it enters into the networked public sphere. In this article, we link theories of affect with an example of idiot video to describe economic capture and neoliberal subjectification.Here we describe the theory of the idiot specific to the Russian context, show how the idiot links to theories of affect, and elaborate upon the relationships between digital media, and in particular internet video, and affect. Before describing our methods, we connect the theory of affect, and the public idiot to the concept to neoliberal subjectivity.Our case study of Victor Goncharenko's Ide video follows to illustrate how affect circulates across and is captured by media platforms. In the process, Goncharenko transforms from a reluctant, private citizen to a public neoliberal subject.Idiot has a specific meaning in the Russian context. The "idiot" in Russian author Fyodor Dostoevsky's The Idiot (1869), Prince Myshkin, embodies kindness, honesty, and unselfishness. This character is humb...

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Hybrid media consumption

Cited by 41 publications

References 32 publications

Audience and Expert Perspectives on Second Screen Engagement with Political Debates

Audience and Expert Perspectives on Second Screen Engagement with Political Debates

Live Participation

Networked idiots: Affective economies and neoliberal subjectivity in a Russian viral video

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