Tracing Attentions

Hassoun, Dan

doi:10.1177/1527476412468621

Cited by 29 publications

(7 citation statements)

References 37 publications

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“…Within a more specific industry discourse, it has been used to refer to applications designed to be used alongside specific individual programs, or social television apps such as tvtag (formerly GetGlue, and now defunct) or Miso TV, which have operated across television in general (Lee and Andrejevic, 2014: 51–2). Daniel Hassoun has provided a useful analysis of simultaneous media use, within which he includes the use of both dedicated second screening apps and social networking sites, although this analysis remains mostly at a macro level (Hassoun, 2014). My interest within this article, however, is focused on the use of technologies such as social media, not designed specifically as a second screening application, but instead adopted and adapted by users to fulfil this need.…”

Section: Second Screeningmentioning

confidence: 99%

Live tweeting, reality TV and the nation

Stewart

2019

International Journal of Cultural Studies

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This article argues that the live tweeting of reality television allows the creation of an imagined community, bounded by national borders. In an era of audience fragmentation and time-shifting of television engagement, live reality television encourages audiences to watch at time of broadcast; this is amplified by the move of some audience members to live-tweet the broadcast, communicating amongst themselves within a dispersed backchannel. A crucial result of the digital conversation is to reinstate the importance of the nation as a space for the reading and reception of culture. The article utilizes a discursive analysis of the concurrent Twitter conversation around the second season of The X Factor NZ in New Zealand in order to highlight the ongoing role that is played by the nation as a cultural formation in such discussions, as well as the ways that it makes understandings of national cultural identity visible.

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Section: Second Screeningmentioning

confidence: 99%

Live tweeting, reality TV and the nation

Stewart

2019

International Journal of Cultural Studies

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“…Esta interacción lúdica con un personaje de ficción en las redes sociales, que se vuelve parte de la rutina diaria del interactor, está en fuerte contraste con la modalidad de recepción "inmersiva" de la mayoría de los mundo ficcionales, en los que el interactor necesita dedicar un período de tiempo muy preciso, para poder consumir un producto cultural, ya sea una novela, un libro de historietas, un film, un episodio de una serie televisiva o de internet, o un videojue-go -incluso aunque cada vez más espectadores están consumiendo estos diversos medios de una manera "distraída" (Dawson, 2007;Berman & Kesterson-Townes, 2012;Hassoun, 2014).…”

Section: Conclusionesunclassified

Inmersión, redes sociales y narrativa transmedia: la modalidad de recepción inclusiva

Gauthier

2018

Comunicación y Medios

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En el presente artículo, sostengo que las redes sociales se convierten en el sitio principal de un nuevo conjunto de relaciones entre la ficción y la realidad en la narración transmedia al permitir la interacción entre los personajes (en el mundo ficticio) y los interactores (en el mundo real). Estas relaciones subyacen a un nuevo modo de recepción, que propongo llamar el modo de recepción inclusivo. A diferencia del modo de recepción “inmersivo”, cuyo objetivo final es sustituir una realidad por otra alterando la realidad del interactor y sumergiéndolos en un mundo ficticio completamente diferente, el objetivo principal del modo de recepción “inclusivo” es posibilitar el coexistencia simultánea de dos mundos (los de la realidad cotidiana del interactor y del mundo ficticio que consumen) y conectarlos utilizando las redes sociales como interfaz.

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“…Other research has focused on the social circumstances of second screen use (Wilson, 2016), the spatial transformation of TV (Stauff, 2015), on the changing relationships between producers and audiences (Bennett, 2012), and on the second screen's potential to heighten a sense of citizenship (Selva, 2016). Dan Hassoun's rich work has shown how the second screen is policed in the cinema (Hassoun, 2016) and in the classroom (Hassoun, 2015) and how it relates to broader concerns of simultaneous media use (Hassoun, 2012(Hassoun, , 2014. Adding to this growing body of research I want to focus more on the conceptual and theoretical implications of the second screen.…”

Section: Introductionmentioning

confidence: 99%

Taming Distraction: The Second Screen Assemblage, Television and the Classroom

Stauff

2016

MaC

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This article argues that television's resilience in the current media landscape can best be understood by analyzing its role in a broader quest to organize attention across different media. For quite a while, the mobile phone was considered to be a disturbance both for watching television and for classroom teaching. In recent years, however, strategies have been developed to turn the second screen's distractive potential into a source for intensified, personalized and social attention. This has consequences for television's position in a multimedia assemblage: television's alleged specificities (e.g. liveness) become mouldable features, which are selectively applied to guide the attention of users across different devices and platforms. Television does not end, but some of its traditional features do only persist because of its strategic complementarity with other media; others are re-adapted by new technologies thereby spreading televisual modes of attention across multiple screens. The article delineates the historical development of simultaneous media use as a 'problematization'-from alternating (and competitive) media use to multitasking and finally complementary use of different media. Additionally, it shows how similar strategies of managing attention are applied in the 'digital classroom'. While deliberately avoiding to pin down, what television is, the analysis of the problem of attention allows for tracing how old and new media features are constantly reshuffled. This article combines three arguments: (1) the second screen is conceived of as both a danger to attention and a tool to manage attention. (2) To organize attention, the second screen assemblage modulates the specific qualities of television and all the other devices involved. (3) While being a fragile and often inconsistent assemblage, the second screen spreads its dynamics-and especially the problem of attention-far beyond television, e.g. into the realm of teaching.

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Tracing Attentions

Cited by 29 publications

References 37 publications

Live tweeting, reality TV and the nation

Live tweeting, reality TV and the nation

Inmersión, redes sociales y narrativa transmedia: la modalidad de recepción inclusiva

Taming Distraction: The Second Screen Assemblage, Television and the Classroom

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