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Theories and interpretation of
    interactive media 6 /
  Vuorovaikutteisen median
     teoriat ja tulkinta 6
                 Frans Mäyrä
              Professor of hypermedia,
        esp. digital culture and game studies
   University of Tampere, Hypermedia Laboratory
                frans.mayra@uta.fi
Lecture 6:

    iPhone / convergence:
Interpreting the ongoing fusion
Outline
•   Many forms of convergence
•   Production / media ownership based convergence
•   Stylistic media convergence
•   Technical: convergence devices
•   Meaning in design
•   Convergence culture
•   Media and information ecologies
•   Meaning in technology
•   Conclusions
Convergence and (new) media
• Media convergence is often taken as one of the main
  characteristics or consequences of new media
• Related to digital/numeric technology at the technical
  infrastructure level, but perhaps even more importantly to the
  uses and cultures surrounding media
• In technical terms, convergence means increasing fusion of
  multiple, previously separate media
• Media convergence can also be perceived in economic
  processes leading into mergers between music, film, print,
  games and online media industries
• The contemporary multi-channel production processes of news
  is an example of “production convergence” in action
Transitions in convergence
• As multimediality and multimodality increase, previously
  separate media elements gain different significances and uses
• E.g. textuality, audiovisuality and interactivity are shifted
  when combined in different ways
• Text or image that dynamically responds to user actions
  requires new strategies of reception, analysis and critique
• Genre boundaries become blurred: interactive novels, dynamic
  images, web texts, online services and games are rich sources
  of reflection into our chancing relations with our media
• Can lead also into aesthetic or stylistic convergence of
  otherwise distinctly different media
Stylistic convergence
       • Cooke (2005*) has studied the visual convergence from 1960 to
         2002 in print, television and the Internet news
       • Points out how the general trend in all three has been towards
         “scannable design”:
          – “phrase is derived from audience-centered research
             conducted within technical communication to describe
             page/screen designs where information is visually
             structured to improve reader accessibility […]. Spatial cues
             that group related items together, for instance, are
             characteristic of scannable design because they enable the
             eye to quickly grasp the relationship between items.” (p.
             29)
       • All news media look alike, all have “condensed” information
         visualisation style, facilitating urgent, scan-and-go lifestyles
Source: *)Lynne Cooke, quot;A visual convergence of print, television, and the internet: charting
40 years of design change in news presentation.quot; New Media & Society, 7(1): 22-46.
Technical convergence
• From technical viewpoint, digital media is having particular
  effect on media transitions through ‘convergence devices’
• E.g. television may be able to access the Web (iTV browser),
  gaming console may play HD video/movies (PS3, Xbox 360), a
  phone may play music etc.
• Convergence devices embody ‘digital convergence’, but usually
  fail in usability in comparison to single-purpose technical
  mediums
• On the other hand, standards in data transmission, structuring
  and sharing (e.g. XML) made it possible to access same data
  through different devices
Example: iPhone as a phone
                                                                “iPhone is a revolutionary
                                                                new mobile phone that
                                                                allows you to make a call
                                                                by simply tapping a name
                                                                or number in your address
                                                                book, a favorites list, or a
                                                                call log.” - “Visual
                                                                Voicemail allows you to go
                                                                directly to any of your
                                                                messages” - “2-megapixel
                                                                camera and an advanced
                                                                photo management
                                                                application”
Source: http://www.apple.com/iphone/features/index.html#phone
Example: iPhone as a iPod
                                                               “iPhone is a widescreen
                                                               iPod with touch controls
                                                               that lets you enjoy your
                                                               content — including
                                                               music, audiobooks,
                                                               videos, TV shows, and
                                                               movies — on a beautiful
                                                               3.5-inch display” - “The
                                                               iTunes Wi-Fi Music Store
                                                               on iPhone puts a music
                                                               superstore in your
                                                               pocket.”
Source: http://www.apple.com/iphone/features/index.html#ipod
“iPhone features a rich
 Example: iPhone as                                                HTML email client and
                                                                   Safari — the most
 a Web terminal                                                    advanced web browser
                                                                   ever on a portable device
                                                                   — which automatically
                                                                   syncs bookmarks from your
                                                                   PC or Mac. Safari also
                                                                   includes built-in Google
                                                                   and Yahoo! search. iPhone
                                                                   is fully multi-tasking, so
                                                                   you can read a web page
                                                                   while downloading your
                                                                   email in the background
                                                                   over Wi-Fi or EDGE.”
Source: http://www.apple.com/iphone/features/index.html#internet
Another example: PS3
                                         “PS3 delivers the next
                                         generation of interactive
                                         entertainment. Enjoy Blu-ray
                                         Disc movies, cutting edge High
                                         Definition games, easy music,
                                         video and photo storage, free
                                         access to PLAYSTATION®Network
                                         and much more.”

Source: http://uk.playstation.com/ps3/
Meaning in Design
• Affective relationships coded into e.g. iPhone design are only
  partially related to its value as (multi-)
  medium
• The haptic and other sensory characteristics of its physical
  design embody the principles of “pleasurable products”
• Studies like Funology (Blythe & co. 2004), Pleasure with
  Products (Jordan 2002) and Emotional Design (Norman 2003)
  conceptualise this in design research terms
• Norman talks about good design that is 1) viscerally attractive,
  2) behaviourally elegant, 3) at reflective level associated with
  attractive value propositions
Cultural
                                              convergence
• Jenkins claims that technology is not the essential part in
  media convergence developments
    –   “By convergence, I mean the flow of content across multiple media
        platforms, the cooperation between multiple media industries, and the
        migratory behaviour of media audiences who will go almost anywhere in
        search of the kinds of entertainment experiences they want. Convergence
        is a word that manages to describe technological, industrial, cultural,
        and social changes depending on who’s speaking and what they think they
        are talking about.” (Jenkins 2006, 2-3.)
• Primarily work and play that users/consumers perform in the
  (new) media system
• Active search of information, interaction between producers
  and consumers within a participatory culture
Convergence culture
               examples
• Fans of Survivors reality tv show have perfected the art of
  “Survivor spoiling” (revealing series secrets)
• American Idol as shaped by “affective economics” (the ideal
  consumer is active, emotionally engaged, and socially
  networked)
• The Matrix franchise as “transmedia storytelling”: the art of
  world making, expecting consumers to construct their
  experiences actively across media boundaries
• Star Wars fan filmmakers and gamers using the digital tools to
  reshape George Lucas’s mythology, Harry Potter fan fiction
• Popular culture engaging people with presidential elections
Pikachu’s global
adventure
• Pokémon franchise is another example, this time a video game
  gaining transmedial expansions
• While interpreting a franchise targeted and successful among
  children, often the binary opposition of structure/agency is
  evoked
• Authors of Pikachu’s Global Adventure (2004) use interviews
  and observations of Pokémon playing children, detailed
  analyses into history of games, Japanese cult of cuteness,
  animations, character merchandising to help explaining the
  complex ways in which power and agency is produced and
  negotiated in such transmedial phenomena
Converging
               media ecologies
• ‘Media ecology’ was introduced by Marshall McLuhan, who
  inspired further study of complex media environments
• Cf. ‘information ecology’ which uses concepts like ecosystem,
  habitat, evolution, niche, growth, and equilibrium to consider
  information systems
• The material and immaterial characteristics of media mix and
  interrelate, contributing to the “patterns, dangers and
  potentials” that effect our lives
• Media and information ecology remain as useful metaphors to
  capture the dynamic, complex character of life in ICT-
  permeated societies
• Theoretically fuzzy: what are the phenomena, domains, forces
  and processes that ‘media ecology’ currently applies to?
Meaning
    in Technology
• Arnold Pacey has written about “the culture of technology”
  and “meaning in technology” (1983; 1999)
• His key arguments include that technology is not value-free,
  since we always experience it as ‘technology-practice’
  (artefacts enmeshed with ideas, ways of behaving, and social
  structures)
• Against reductionism: there are multiple sources of meaning in
  technology, none necessarily lesser significant than the other
• Technology-practice is surrounded by: 1) political meanings
  and organisation, 2) social and cultural meanings, 3) technical
  knowledge, equipment and tools, 4) personal experience: what
  it feels like
Pacey: technology & music
• “My view is that we sometimes - perhaps
  increasingly - use machines and other technology in
  the same way as we use music and musical
  instruments, to interpret the world and give it
  meaning. […] So it is not only singing that brings
  our world into existence and gives it meaning, but
  the music of technology also, together with such
  visual pattern-making activities as painting and
  sculpture, building and engineering.” (Pacey 1999,
  17-18.)
Power of myths
         • Myth is a dual concept: a ‘lie’ to others, a ‘deeper truth’ for
           some
         • IT and new media are also mythical in the sense that they are
           embedded in discourses that organise their place in our
           collective semiotic maps
         • The digital sublime and mundane are two contrasting
           discursive domains for interactive media
         • ‘Cyberspace’ is an example of digital sublime - chosen by SF
           author William Gibson for it being evocative term, yet without
           “real semantic meaning”*
         • Myths have the power to evoke the possibility of sublime
           within/in contrast to the mundane reality (cf. Mosco 2004)
         • E.g. in what sense can ‘mobile Internet’ be sublime?

Gibson 1996; cit. http://en.wikipedia.org/wiki/Cyberspace
Conclusions:
      New media as technologies for
                   meaning-making
• Sherry Turkle (2007) has written how we “think with
  the objects we love; we love the objects we think
  with”
• Currently, new media is being embodied in various
  ways into our lives: as devices, as practices, as
  ideas, as (virtual/hybrid) spaces
• No theory can fully capture its constantly
  transitional character, but instead it is useful to
  interpret new media as “an object to think about
  change”
• As “digital touch” is permeating micro and macro
  levels of life and social structure, understanding
  interactive media becomes synonymous with
  understanding the self and the society

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P2 Lecture 6

  • 1. Theories and interpretation of interactive media 6 / Vuorovaikutteisen median teoriat ja tulkinta 6 Frans Mäyrä Professor of hypermedia, esp. digital culture and game studies University of Tampere, Hypermedia Laboratory frans.mayra@uta.fi
  • 2. Lecture 6: iPhone / convergence: Interpreting the ongoing fusion
  • 3. Outline • Many forms of convergence • Production / media ownership based convergence • Stylistic media convergence • Technical: convergence devices • Meaning in design • Convergence culture • Media and information ecologies • Meaning in technology • Conclusions
  • 4. Convergence and (new) media • Media convergence is often taken as one of the main characteristics or consequences of new media • Related to digital/numeric technology at the technical infrastructure level, but perhaps even more importantly to the uses and cultures surrounding media • In technical terms, convergence means increasing fusion of multiple, previously separate media • Media convergence can also be perceived in economic processes leading into mergers between music, film, print, games and online media industries • The contemporary multi-channel production processes of news is an example of “production convergence” in action
  • 5. Transitions in convergence • As multimediality and multimodality increase, previously separate media elements gain different significances and uses • E.g. textuality, audiovisuality and interactivity are shifted when combined in different ways • Text or image that dynamically responds to user actions requires new strategies of reception, analysis and critique • Genre boundaries become blurred: interactive novels, dynamic images, web texts, online services and games are rich sources of reflection into our chancing relations with our media • Can lead also into aesthetic or stylistic convergence of otherwise distinctly different media
  • 6. Stylistic convergence • Cooke (2005*) has studied the visual convergence from 1960 to 2002 in print, television and the Internet news • Points out how the general trend in all three has been towards “scannable design”: – “phrase is derived from audience-centered research conducted within technical communication to describe page/screen designs where information is visually structured to improve reader accessibility […]. Spatial cues that group related items together, for instance, are characteristic of scannable design because they enable the eye to quickly grasp the relationship between items.” (p. 29) • All news media look alike, all have “condensed” information visualisation style, facilitating urgent, scan-and-go lifestyles Source: *)Lynne Cooke, quot;A visual convergence of print, television, and the internet: charting 40 years of design change in news presentation.quot; New Media & Society, 7(1): 22-46.
  • 7. Technical convergence • From technical viewpoint, digital media is having particular effect on media transitions through ‘convergence devices’ • E.g. television may be able to access the Web (iTV browser), gaming console may play HD video/movies (PS3, Xbox 360), a phone may play music etc. • Convergence devices embody ‘digital convergence’, but usually fail in usability in comparison to single-purpose technical mediums • On the other hand, standards in data transmission, structuring and sharing (e.g. XML) made it possible to access same data through different devices
  • 8. Example: iPhone as a phone “iPhone is a revolutionary new mobile phone that allows you to make a call by simply tapping a name or number in your address book, a favorites list, or a call log.” - “Visual Voicemail allows you to go directly to any of your messages” - “2-megapixel camera and an advanced photo management application” Source: http://www.apple.com/iphone/features/index.html#phone
  • 9. Example: iPhone as a iPod “iPhone is a widescreen iPod with touch controls that lets you enjoy your content — including music, audiobooks, videos, TV shows, and movies — on a beautiful 3.5-inch display” - “The iTunes Wi-Fi Music Store on iPhone puts a music superstore in your pocket.” Source: http://www.apple.com/iphone/features/index.html#ipod
  • 10. “iPhone features a rich Example: iPhone as HTML email client and Safari — the most a Web terminal advanced web browser ever on a portable device — which automatically syncs bookmarks from your PC or Mac. Safari also includes built-in Google and Yahoo! search. iPhone is fully multi-tasking, so you can read a web page while downloading your email in the background over Wi-Fi or EDGE.” Source: http://www.apple.com/iphone/features/index.html#internet
  • 11. Another example: PS3 “PS3 delivers the next generation of interactive entertainment. Enjoy Blu-ray Disc movies, cutting edge High Definition games, easy music, video and photo storage, free access to PLAYSTATION®Network and much more.” Source: http://uk.playstation.com/ps3/
  • 12. Meaning in Design • Affective relationships coded into e.g. iPhone design are only partially related to its value as (multi-) medium • The haptic and other sensory characteristics of its physical design embody the principles of “pleasurable products” • Studies like Funology (Blythe & co. 2004), Pleasure with Products (Jordan 2002) and Emotional Design (Norman 2003) conceptualise this in design research terms • Norman talks about good design that is 1) viscerally attractive, 2) behaviourally elegant, 3) at reflective level associated with attractive value propositions
  • 13. Cultural convergence • Jenkins claims that technology is not the essential part in media convergence developments – “By convergence, I mean the flow of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behaviour of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want. Convergence is a word that manages to describe technological, industrial, cultural, and social changes depending on who’s speaking and what they think they are talking about.” (Jenkins 2006, 2-3.) • Primarily work and play that users/consumers perform in the (new) media system • Active search of information, interaction between producers and consumers within a participatory culture
  • 14. Convergence culture examples • Fans of Survivors reality tv show have perfected the art of “Survivor spoiling” (revealing series secrets) • American Idol as shaped by “affective economics” (the ideal consumer is active, emotionally engaged, and socially networked) • The Matrix franchise as “transmedia storytelling”: the art of world making, expecting consumers to construct their experiences actively across media boundaries • Star Wars fan filmmakers and gamers using the digital tools to reshape George Lucas’s mythology, Harry Potter fan fiction • Popular culture engaging people with presidential elections
  • 15. Pikachu’s global adventure • Pokémon franchise is another example, this time a video game gaining transmedial expansions • While interpreting a franchise targeted and successful among children, often the binary opposition of structure/agency is evoked • Authors of Pikachu’s Global Adventure (2004) use interviews and observations of Pokémon playing children, detailed analyses into history of games, Japanese cult of cuteness, animations, character merchandising to help explaining the complex ways in which power and agency is produced and negotiated in such transmedial phenomena
  • 16. Converging media ecologies • ‘Media ecology’ was introduced by Marshall McLuhan, who inspired further study of complex media environments • Cf. ‘information ecology’ which uses concepts like ecosystem, habitat, evolution, niche, growth, and equilibrium to consider information systems • The material and immaterial characteristics of media mix and interrelate, contributing to the “patterns, dangers and potentials” that effect our lives • Media and information ecology remain as useful metaphors to capture the dynamic, complex character of life in ICT- permeated societies • Theoretically fuzzy: what are the phenomena, domains, forces and processes that ‘media ecology’ currently applies to?
  • 17. Meaning in Technology • Arnold Pacey has written about “the culture of technology” and “meaning in technology” (1983; 1999) • His key arguments include that technology is not value-free, since we always experience it as ‘technology-practice’ (artefacts enmeshed with ideas, ways of behaving, and social structures) • Against reductionism: there are multiple sources of meaning in technology, none necessarily lesser significant than the other • Technology-practice is surrounded by: 1) political meanings and organisation, 2) social and cultural meanings, 3) technical knowledge, equipment and tools, 4) personal experience: what it feels like
  • 18. Pacey: technology & music • “My view is that we sometimes - perhaps increasingly - use machines and other technology in the same way as we use music and musical instruments, to interpret the world and give it meaning. […] So it is not only singing that brings our world into existence and gives it meaning, but the music of technology also, together with such visual pattern-making activities as painting and sculpture, building and engineering.” (Pacey 1999, 17-18.)
  • 19. Power of myths • Myth is a dual concept: a ‘lie’ to others, a ‘deeper truth’ for some • IT and new media are also mythical in the sense that they are embedded in discourses that organise their place in our collective semiotic maps • The digital sublime and mundane are two contrasting discursive domains for interactive media • ‘Cyberspace’ is an example of digital sublime - chosen by SF author William Gibson for it being evocative term, yet without “real semantic meaning”* • Myths have the power to evoke the possibility of sublime within/in contrast to the mundane reality (cf. Mosco 2004) • E.g. in what sense can ‘mobile Internet’ be sublime? Gibson 1996; cit. http://en.wikipedia.org/wiki/Cyberspace
  • 20. Conclusions: New media as technologies for meaning-making • Sherry Turkle (2007) has written how we “think with the objects we love; we love the objects we think with” • Currently, new media is being embodied in various ways into our lives: as devices, as practices, as ideas, as (virtual/hybrid) spaces • No theory can fully capture its constantly transitional character, but instead it is useful to interpret new media as “an object to think about change” • As “digital touch” is permeating micro and macro levels of life and social structure, understanding interactive media becomes synonymous with understanding the self and the society