Wednesday, 4 September 2013

ONLINE vs REAL LIFE





Figure 1
"Change in medium means change in genre" (Van Luyn, 2013). A great example of this is the emergence of massively multiplayer online games (MMOG's) that have become extremely popular as more people around the world have been connected to the internet.  Although representing many video game genres, MMOG's must be played over the internet, with game play dictating both cooperation and competition on a large scale - the resulting interaction deciding how power and resources are distributed. 


Communication between players in MMOG's, especially those in cooperation with each other is key. In the MMOG Grepolis, this communication is centred around the alliance forum.  For an alliance to form, and then become strong, every player must work together. Therefore, finding a foundation for mutual understanding must be achieved, and this is done through the forum.  McNeill (2013) explains, "Common ground becomes a means for establishing and policing community boundaries, and, in most cases, the speaker/writer has the power to let readers in, or keep them out, based on what information can be presumed to be shared" (p.320).  


Figure 2

Leaders will soon emerge, and they will be assigned roles within this alliance depending on their abilities. For these "leaders" the forum becomes a vital means in which to lead. In order to get ones point across, "Every writer needs to develop his or her way with words"  (Diyanni, 2005, p.16). I have myself noted that the majority of players finding themselves in these positions of power are quite talented in this regards. Online identities are soon formed, through both actions undertaken within the game, and through interactions on the alliance  forums. I often wonder to myself, who are the real people behind these "online identities" and I'm sure the answer would be very surprising most of the time. 


References:  


DiYanni, R. (2005). Twenty-five great essays. New York: Pearson.

Rowe, C., & Wyss, E. L. (2009). Language and new media: Linguistic, cultural, and technological evolutions. Cresskill, NJ: Hampton Press.


Van Luyn, A. (2013). BA1002: Our Space: Networks, narratives and the making of place, Lecture 6:Genre. [PowerPoint slides]. Retrieved from http://learnjcu.edu.au





Image Credit:


Figure 1. [South Park Character]. Retrieved from 
http://lusipurr.com/wp-content/uploads/2012/03/South-Park-MMORPG-Player-Screenshot.jpg

Figure 2. [Grepolis alliance forum]. Retrieved from
http://s19.postimg.org/v228gp51f/Intro_1.jpg



Tuesday, 3 September 2013

Post by the rules

Facebook - conformity and groupthink
According to Dr Van Luyn (2013) genre is  “a way of expressing yourself through cultural products” and “technology has the capacity to create new kinds of genres.” Facebook can be considered a new genre in that has developed a particular style and form, further stipulated by the moderator of the Buy, Swap Sell and Giveaway group. Users who do not comply can have their membership suspended or revoked.

Policies for this group cover who can post (must be members who are individuals/hobbyists/small business owners), and what they can post about (garage sales, community notices, goods for sale/swap/giveaway, professional services). Users must also post under their own identity and not profiteer off items bought from other users. Certain acronyms/textualised language have developed with this group including the use of the word ‘bump’ to highlight a post and have it reappear in the feed, pm for ‘private message,’ and ‘WTB’ for ‘want to buy.’ The first user to comment is considered the buyer, but if another user is also interested they can write ‘next in line’ beneath.

To understand the way form and style influence the structure of users’ posts and their interactions with each other, we need to do more than just observe the details of the text, we must connect them to one another (Di Yanni, 2005, p 28). Users may censor their comments for fear of having their membership suspended and will quite often mimic posts of more active users in an attempt to gain credibility in this environment. Not all rules are stipulated; some are simply implied. Shostack (2009) writes: “conformity through secret rules whose violation results in suspension … acts as a censor on our social interaction and our willingness to explore and excel.”

We can also see that in this new genre, elements of a familiar genre, ‘the noticeboard post,’ have been twigged for the new online environment. McNeill (2011, p322) explains: “when faced with a new or uncertain situation, rhetors will turn to familiar forms and, when possible, adapt them to the new novel environment.” It is clear from this that the Facebook post is not so new a genre at all, but rather just an update on an old form, and there’s still someone taking down the notices if you don’t post by the rules.

Reference List

Di Yanni, R. (2005). Introduction: Reading and writing essays, in Twenty-five great essays (pp 1 – 30). New-York, NY: Penguin Academics.

McNeill, L. (2011). Diary 2.0?: A genre moves from pate to screen, in Rowe, C. & Wyss, E.L. (Eds.), Language and new media: Linguistic, cultural, and technological evolutions (pp 313-155). New York, NY: W. W. Norton

Shostack, A. (2009, February 27). Facebook: Conform or else. [Web log comment]. Retrieved from http://emergentchaos.com/archives/2009/02/facebook-conform-or-else.html

Van Luyn, A. (2013). BA1002: Our Space: Networks, narratives and the making of place, Lecture 6:Genre. [PowerPoint slides]. Retrieved from http://learnjcu.edu.au


Image Credits

Steptoe, L. (2013). Facebook – conformity and groupthink. Retrieved from http://www.traveldivastories.com/2013/01/facebook-conformity-groupthink.html

Network Narrative


Week 4 blog

‘Social networking sites connect families, classmates, friends, co-workers and even lurkers in a digital community’ (McNeill, 2013, p 102).  The popularity of these sites demonstrates that they address user demands for social connection, allowing individuals to participate in “everyday autobiography” (McNeill, 2013). The Townsville Free Stuff network on the Facebook page connects friends and strangers within the Townsville area who wish to recycle or reuse various items.  Items exchanged on the page must be free.

 

This network appears to have both men and women in the membership, with the occasional company included.  The group is restricted to people residing in the Townsville for the convenience of swapping items without cost (or with minimal cost). English (along with pictures) is the only language utilised to communicate on this page.  If you go by profile pictures, the majority of people appear to be of Caucasian descent with a few other ethnic groups filtering through.  However, there does not appear to be any power play over cultural groups except for the exclusion of those who do not reside in the Townsville area.  The items available for free on this page are quite diverse, ranging from kids toys and clothes, to kitchen wares and barbeques, through to free legal advice and community fitness groups.  This page definitely addresses the needs of the users as described by McNeill.  Access for Townsvillians is appears to be equitable. The administrator does pull rank a little to remind members of the rules.  I will discuss identity later in the blog, but I have notice the administrator has omitted to attach a photo.  One wonders if the administrator is remaining partially anonymous will asserting some power.

 



 

The network map of this page would be restricted to the Townsville area.  However, four of the 4045 members are also a part of my global Facebook network.  These members are also co-workers and friends.  The power would be for the administration of the page to exclude those not residing in the Townsville region.  There is room to increase your own network, with the page containing links to suggested other pages.

 

The identity of members needed to be created by creating your identity for Facebook. So, if one utilises Facebook’s creator Mark Zuckerberg’s claims about Facebook members’ identity as being real and authentic, then the member’s identities are real and authentic. According to Zhao, et al (as cited by McNeill,2012), Facebook has the belief that authenticating credential of the proper name, users must sign up using their real names, verified by birth date and e-mail address, creating a “nonymous” environment. Facebook founder Mark Zuckerberg has been quoted, declaring that “You have one identity;” “Having two identities for yourself is an example of a lack of integrity” (Kirkpatrick, as cited by McNeill, 2012). Facebook COO Sheryl Sandberg also announced, “You can't be on Facebook without being your authentic self” (Kirkpatrick, as cited by McNeill, 2012).

 

McNeill argues that while insisting that identity is singular and “authentic,” Facebook fails to question the limitations of that concept or its foundations (who determines "authenticity"? Who has access to it?), and instead reproduces its ideologies.  Identity is not singular, but can remain authentic.  This would be true in the case of people utilising the shortened form of their first name or others using their maiden names as opposed to their married name (or vice versa).  These identities would remain authentic.  In the virtual world, including Facebook, there is room to create an alias, or nicknames, which may or may not be authentic.  Who is to judge if these decreases the integrity of the user?  I would suspect there would be a few users of this page that has not utilised their full and proper name to become a member, but is most likely not any less authentic, real or lacking in integrity.  Pictured below is a few of the members that one could start mapping out the network but also example of people who could have shorten their name.

 



As discussed in week four’s lecture and in McNiell’s (2012), one also has to wonder about the full authenticity of the identity when the human subject engages with software such as Facebook and its guidance which constructs lives, concepts and contexts that builds a person’s identity and narrative.  How true to reality are these identity one must consider.  As discussed in the lecture, aspects of peoples lives that do not always match the norm do not fit into all that is available in the drop down boxes. An example given was relationship status, the only option for outside the normal is ‘it’s complicated.’

 

The role of the community is to provide the opportunity to give away/recycle/ reuse items that you may no longer need but may be useful to others.  The aim is to keep the cost down to being free.  Services such as legal assistance, community fetes, community fitness clubs are also posted on the network. Non-for-profit individuals and communities or organisations thrive on this network.  Businesses making money are not welcomed and those who request items are reminded of the rules.  Reminders of the rules are put out as a generic posting without naming and shaming individuals who break the rules.

 

Songlines and virtual communication networks have similarities and differences.  They are both a bit abstract from reality but are integrated into the real world.  Songlines is the Aboriginal peoples concept of creation of the world, people, way of life and behaviour and is integrated into Aboriginal peoples lives.  To me, looking from the outside, this seems to me a bit abstract but like the reading I can relate it to Genesis.  Virtual communication networks too are a bit abstract for me in that it is a different way or form of communication.  The difference is that humans have created this virtual world, which in turns has influence on us as humans and the way we see each other in various contexts.  It too does have a set of rules to abide by, but they were human created not created by the network. This virtual world has been integrated into many people’s lives.

 

Reference List

 

Chatwin, B. (1987). The Songlines. London: Jonathan Cape LTD

 

McNeill, L. (2012). There is no “I” in Network: Social networking sits and posthuman auto/biography. Biography, 35 1, 101-118

 

Sunday, 1 September 2013

Social Capital: The Power of Narrative

More powerful than money?
Narratives have a plot, character, voice and point of view (Fulton, 2005).  We relate to these voices as our own troubles, delights and earthly queries resonate within their telling and offer explanations.  Berger (2012) states our online social networks are a functional substitute for real communities.  These are places that enable classical narratives to continue with a familiar language and current affairs to be constructed into new narratives.  All are relevant and align certain groups with similar interests or a familiar voice.  In doing so, social capital is created allowing a strengthening of bonds and a platform for agency.  
 
Diagram 1 - Public Wailing Poster
The Aboriginal and Torres Strait Islander Grapevine Facebook page has a variety of narratives weaving throughout the dialogue.  What is prominent however is the exercise of agency through these narratives.  “Resistance” and “project” agencies (Petray, 2012) are evident.  The resistance to narratives of mining country, stolen generation and human rights violations are exampled in nationally organised events, protests and petitions.  There are many project agencies that employ strategies to empower through job postings, social events, art exhibitions and community gatherings.  One group member, through his evocative artwork, prompted the organisation of a public wailing, thus simultaneously demonstrating the power of artwork as symbolic narrative and this online network. Through these agencies, as Petray (2012) argues, comes control and empowerment and does not deny Aboriginal people a voice that is evident in narratives of dysfunction.

Van Luyn (2013) states language creates its own reality.  Language and art are important components of these online narratives.  There is a maintenance of family terms (Uncle, Aunty, Cousin or ‘Cuz’), of community (mob), various colloquial social terms (‘deadly’) and reference to lands as ‘country’ often in the regional traditional language.  It is a powerful language, keeping community ties that perpetuate a sense ‘oneness’, power of place and reality.  It is the telling of these narratives, in their terms, which has had the power to endow this online site with vibrant meaning (Tuan, 1991, p. 687). 



Diagram 2 - Social Capital
Therein lays the power of narrative and place and its relationship with social capital and agency.  Through narrative and language, a place develops where there is trust and a sense of belonging that constructs networks.  Establishing communal power, these networks produce agency for empowerment and pro activity. 

The entirety of network, narrative, place and power concepts, amalgamate to produce capital.  We need to feel safe, secure and understood; we need to feel we belong.  

Bibliography
Berger, A. A. (2012).  Media and Society:  A Critical Perspective [DX Reader version].  Retrieved from http://books.google.com.au/books
Fulton, H.  (Ed.).  (2005).  Narrative and Media [DX Version].  Retrieved from http://books.google.com.au/books

Petray, T. (2012).  Can Theory Disempower?  Making Space for Agency in Theories of Indigenous Issues.   Theorising Indigenous Sociology: Australian Perspectives Workshop Proceedings (pp. 1-6).  Sydney:  The University of Sydney.  Retrieved from  http://hdl.handle.net/2123/8791
Tuan, Y-F.  (1991).   Language and the Making of Place:  A Narrative-Descriptive Approach.  Annals of the Association of American Geographers, 81(4), 684-696.

Van Luyn, A. (2013). BA1002: Our Space: Networks, narratives and the making of place, Lecture 5: Stories and Places. [PowerPoint slides]. Retrieved from http://learnjcu.jcu.edu.au
Image Reference
Diagram 1 - Public Wailing Poster  
Grieving Wailing Ceremonial March [Image].  (2013).  Retrieved from https://www.facebook.com/photo.php?fbid=4987527100634&set=gm.560434827326620&type=1&theater

Diagram 2 - Social Capital

Social Capital [Image].  (2013).  Retrieved from http://bencampbellinzambia.blogspot.com.au/2010/07/social-capital-vs-economic-capital.html