The Positioning of Pooky

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The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies.

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The Positioning of Pooky

  1. 1. The Positioning of Pooky: A semi-professional's utilization of a virtual world for experimenting with television CarrieLynn D. Reinhard, Dominican University www.virtualworldtelevision.com Pooky Amsterdam, PookyMedia www.pookymedia.com
  2. 2. Virtual Worlds Television • Interactive television – Beyond control when/where/how access • Potential for content interactivity – Impacting progression of content • "Inhabited Television" (Benford et al 1999; Craven et al 2000)
  3. 3. VWTV & Web 2.0 Paradigm? • “Build it, and let them create”
  4. 4. VWTV: Metanomics (Bloomfield, 2007)
  5. 5. The Study • Relationship of “build it, and let them create” – To Web 2.0 paradigm – To traditional producer-audience relationship • As seen in positionings of virtual worlds television entrepreneur Pooky Amsterdam
  6. 6. Pooky Amsterdam & PookyMedia • The First Question
  7. 7. Pooky Amsterdam & PookyMedia • The Dating Casino
  8. 8. The Study • Tensions in how described herself, relationship to audience & virtual worlds, in how design her corners of Second Life
  9. 9. Tension: Confidence & Humility • Confidence in self as producer
  10. 10. Tension: Confidence & Humility • Humility by recognizing power of audience
  11. 11. Tension: Confidence & Humility • Vision: VWTV requires actions of unseen but not unfelt masses – Perhaps positions herself as confident because saw how to utilize this new paradigm to create egalitarian ideal • Responses are in ideology of social media – Positions herself as producer in humbled position to her audiences • In position to bring something to audience, to serve them, to prepare them
  12. 12. Tension: Powerful & Disempowered • Any power has, from dialogue with audience, production crew
  13. 13. Tension: Powerful & Disempowered • Own agency with virtual worlds structures gave audience space in which be agentic
  14. 14. Tension: Powerful & Disempowered • Virtual worlds empower humans through requirements for engagement • But technology cannot overcome human nature. – Human nature associated with power • Creates the space, encourages participation. • This power dynamic, associated with traditional media, lessened in Web 2.0 media – Space created by producer to encourage & require participation • Power dynamic exists, due to requirement for structure to exist – Not as predominant as other producer-audience relationships
  15. 15. Discussion • Descriptions & tensions indicate how endorse "build it, and let them create". – Positioned self as producer within tension of Web 2.0 dual identity of "producer" and "user“ (Bruns, 2008; Ross, 2008). – Striving for egalitarian potential • empowered by technology • disempowered compared to TV producer-audience relationship • Similar to other Internet entrepreneurs – Seek to capitalize on structure of Web 2.0 tech: • Generate enough interest amongst consumers to use them to propagate enterprise
  16. 16. Future Directions • How much does this study reflect: – Experiences other VWTV? – Experiences other Web 2.0 entrepreneurs? • What about the audience? – How respond/receive such programming? – What leads to want to engage?
  17. 17. References • Benford, S., Greenhalgh, C., Craven, M., Walker, G., Regan, T., Morphett, J., Wyver, J. & Bowers, J. (1999). Broadcasting On-Line Social Interaction as Inhabited Television. In S. Bødker, M. Kyng, and K. Schmidt (eds.). Proceedings of the Sixth European Conference on Computer-Supported Cooperative Work, J2-16 September 1999, Copenhagen, Denmark, (p. 179- 198.) Netherlands: Kluwer Academic Publishers • Bruns, A. (2008). Reconfinguring television for a networked, produsage context. Media International Australia, 126, p. 82-94 • Craven, M., Benford, S., Greenhalgh, C., Wyver, J., Brazier, C., Oldroyd, A., et al. (2000). Ages of avatar: Community building for inhabited television. In Proceedings of the Third International Conference on Collaborative Virtual Environments (CVE'00) (pp. 189–194). New York: ACM Press. • Ross, S. M. (2008). Beyond the Box: Television and the Internet. Malden, MA: Blackwell Publishing. • Van den Bergh, J., Bruynooghe, B., Moons, J., Huypens, S., Hemmeryckz- Deleersnijder, B. & Coninx, K. (2007). Using high-level models for the creation of Staged Participatory Multimedia Events on TV. Multimedia Systems, 14 (2), p. 89-103.

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