Alec’s Living Out Of Home Vlogs

Over the course of this semester, Alec has been producing a vlog series documenting his last week of living out of home before he moves back in with his parents. The aim of his vlog series was to help educate people about what they need to know when living out of home, using his own experience as his primary source of information. He wanted to deliver his advice in a funny and personal manner, which is why picking a vlog format over a blog was the best choice. This, as well as his strong background in video production with ShireLive, mean that before Alec even started, I had high expectations on what he should deliver. While Alec doesn’t work professionally in a media position (apart from his role at ShireLive), I know that this kind of field is something that Alec has always been interested in, and has always considered trying to work in. So while this vlog series may be for a university project, I think he can use it as a chance to learn and grow his production techniques, and perhaps use in his portfolio if he ever decides to enter that industry. The video below is an example of what he does for ShireLive.

Impressions:

I’ve been following his progress, and after presenting a beta version of his vlog, i’ve been asked to critique his process and project, to help him continue to grow and make better vlogs. Firstly, Alec really hit those high expectations I had for his videos before he even began. His humour was on point, his camera angles were great, and it followed a storyline which is absolute key to vlogs.

The audio quality was, for the most part, really good. Alec mentioned in his presentation that he borrowed a RODE mic for the parts of the vlog where he sat on his bed and talked directly into his camera and to the audience. For the rest of the vlog, he had no special audio equipment, and used the built in microphone in his Canon DSLR.

Having a rode mic permanently on your camera doesn't look too bulky, however it does add a 'professional' element to it, which may attract more people to look at him in public
Having a rode mic permanently on your camera doesn’t look too bulky, however it does add a ‘professional’ element to it, which may attract more people to look at him in public

His humour throughout the video I found funny, because it was relatable, and Alec is a naturally funny person. His family were also funny, and his editing highlighted that. I think the biggest part of his humour is when he bounces off other people adding in funny comments or replies.

I found some of his shots had his face too close to the screen, and that could be attributed to his lens not being wide enough, or perhaps he just needs to move the camera further away from his face. I should note however that this wasn’t a trent throughout the entire video, so it’s possible this was a one time mistake.

Having a bendy tripod, or even a monopod, would really help distance himself from the camera. This 'look' however is basically patented to famous vlogger Casey Neistat
Having a bendy tripod, or even a monopod, would really help distance himself from the camera. This ‘look’ however is basically patented to famous vlogger Casey Neistat

I liked how he got his friends to help him film parts of the video, because it allowed himself to be in the actual shots. This lets us see a lot clearer what goes on in his day, and for us actually see him interacting naturally without also being the cameraman.

The music he used in his blog was also great, but it was a very popular song, and would be copyrighted. This could be a big issue if he takes this further. The graphics Alec made (I saw him do it myself – super talented at it) looked amazing, it suited his video style and vibe, and there’s nothing I would change about it. It almost makes me think that Alec could pursue a career in graphic design.

Alec mentioned in his presentation that it felt awkward to film himself in public, and that it became a real barrier for completing his assignment. I can totally understand how this would be an issue, and I guess it’s one of those things that can only get better with time and perseverance.

Going forward:

I would improve the lighting for the shots where he talks on his bed, some basic lights could really improve the shot, and for about $60 you can really improve the production quality. Lighting is super important in film.

Some of the cuts in his edit looked really rough, when the new shot would be edited it, it felt like it was ‘cut’ too close to where he starts a new word or sentence, and so the tempo when he talked seemed really off and not natural. I really enjoyed Alec’s vlog, and I think he should really continue to produce his vlogs, because everyone in the class seemed to enjoy it, and I can see a lot of potential for it. Especially since Vlogs are pretty in demand right now.

Massive Green Screen Success!

Since my last blog post, Dan and I have set up and filmed one of our videos for our projects, and we’ve analysed what worked and what didn’t. Dan and I came into the assignment confident of our video production skills, with great expectations of the results. While we’re both happy with the results of the video, i’m sure we can both agree that there were some elements that were successful, and others that weren’t.

We had assumed that the camera work would be easy if we set all the cameras up on tripods, pressed record then synced up the footage afterwards through an audio spike, but it proved to be a bit harder than we imagined. We had issues with cameras stopping the recordings at different times (this is due to the SD card writing speeds and the limitations that the companies put on the cameras to avoid taxes – apparently that’s actually a thing).

Another issue I found afterwards, was throughout the video, when we’re reacting to the video and talking about what was happening and our thoughts, we were constantly referencing things that had happened to us earlier that day, and jokes that the audience wouldn’t understand for lack of context.

We had also assumed that after downloading the movie, that it would come with subtitles, because it promised there were hard coded subtitles. Well, we found out the hard way that there were no subtitles, but we concluded afterwards that it was probably a good thing, because it allowed us to talk more throughout the video (even though I had written in my previous blog post that we would avoid that), and react more energetically to things we considered not normal.

After recording the video, even though we have 1.5 hours of footage (on each camera!) to go through and cut down, i’m confident there’s enough good material to see us reacting and analysing the films. I’m also confident in the techniques and production of the videos, it took a lot of effort and some trial and error, but it was very successful, and we’re talking about continuing the video series after we finish our individual assignments, because we had so much fun!

If I was able to make a change to the videos series, I would have people operating the cameras, so they aren’t always static shots, and they’ll be able to know when the cameras stop recording, and can direct and prompt us if something isn’t working, or if we should address a production issue.

The overall academic approach of autoethnography to watch the film was successful, I found that without the subtitles and with no english parts, and especially both having a background in film work, we were able to see the asian influence and culture throughout the film, and we talked about whether or not some of these techniques were useful or not, and we had disagreements on whether or not we liked these techniques, but it was a great way to watch an asian film.

Being completely honest, if I had the option, I would have watched it with subtitles, because throughout the film, there were parts and scenes we just didn’t understand, and it made it hard to understand the relationships the characters had with each other, because we had to rely on body language and how they interacted with each other. The lack of subtitles however did make more character engagements more noticeable, especially some that we didn’t consider normal, and we had to make assumptions and broaden our thinking to understand the movie.

So overall, the filming was a great success, and I look forward to both of our edits of both of our films, and to see what other people think about this approach of autoethnography in film and video.

Video Techniques for Autoethnography

For my individual research project, I wanted to explore the differences in films produced and released in Asia, compared to the movies I usually watch. I wanted to examine what I thought was normal, and what I thought wasn’t normal, but how their different techniques affected the film overall, and how it affected my overall opinion of the film.

So to achieve this, I had to set up an environment where I could watch an asian movie, and also record my reactions to the movie, so I could clearly show through my expressions, what I thought wasn’t normal – or at least in my culture. I found that a friend of mine also had a similar idea, so we decided to help each other out throughout the process, but we would both have our assignments reacting to an individual film.

When Dan and I were discussing how the best way to produce the short video was, he referred me to an online television program he had been watching for a while called ‘Ancient Aliens’, and we both instantly agreed that following a similar set up would be perfect for our assignments. If you watch an episode of theirs which i’ve linked below, you can see that the television series follows a bunch of dudes getting intoxicated and watching the series ‘ancient aliens’ (which is an alien conspiracy theory series). The twist however, is that they are filmed watching it on a lounge in a massive green screen room, so the background of the video is the series they’re actually watching! It’s a technique that I hadn’t found before, and that combined with the funny and unique editing style of the show it clearly shows how we’ve experienced the film.

Ellis, Adams and Bochner talk about autoethnography in their published works as being an individual approach to research, submitting and submersing yourself to the environment you’re trying to study, and then recording your findings through field notes. Then through these field notes, you’re able to better understand the subject of study from a unique perspective, which is particular useful when studying things in another culture where you may have particular thoughts or stereotypes about the culture.

Taking Scholar’s like Ellis, Adams and Bochner and their ideas about autoethnography into account, our approach to filming and reacting to them perfectly highlight the principle of autoethnography, we’re planning to submerse ourselves and react to the footage. The use of the green screen behind us allow the viewers to see what we’re reacting to, and it also allows us to use this unique editing style to perfectly demonstrate how we’re reacting to the movie rather than just annotating what’s going on in the movie.

For this assignment to work, we’ve had to set up multiple cameras to be filming us. We’re planning on using 3 digital camera’s, two with wide angles, and one with a closer shot of us to see our reactions. We’re also using a go pro to get an ultra wide angle of the whole environment. Dan bought a bunch of green sheets and stitched them together, and we plan to use pins to hold the sheets into the wall. We’re going to be having a table in front of the couch (as we plan to eat pizza and have a few drinks – who said assignments can’t be fun), but we’re going to be covering it with the green screen so all you can see is a bunch of hovering pizza and drinks. We’re also planning to have a very relaxed and laid back vibe throughout the video, as we think not having too many rules governing the production will be more beneficial to the autoethnography process, as it allows you to see how we truly reacted to the film, and how we actually experienced the film.

Dan tested the video idea briefly by himself which you can find over on his youtube channel Danger Dan, and you can see how the video production technique really makes it submersive for the viewer as well, which refelcts the autoethnography process. After filming and editing the video, we’re both going to be uploading the videos to our youtube channels for hosting and then submitting them.

We plan on filming this on a thursday night when we’re all available, and treating it like a movie night with some drinks rather than an academic video production. So stay tuned for the next blog post to see how it panned out!


ACTION BRONSON WATCHES ANCIENT ALIENS. (2016). [film] Viceland: Action Bronson.

Cultural Interference

After watching State of Play, and recounting my initial findings and thoughts as field notes, I had some time to do some further thinking and research to understand my findings. I first noticed some large cultural differences between our eSporting community, and their eSporting community.

I researched into how these eSport players would carry around their own keyboards. I watched as many interviews and documentaries about famous athletes and sports players, and noticed how many of them would bring and wear their ‘lucky boots’, or would do some sort of routine out of superstition that would give them luck. So the idea that eSport players would carry around their keyboards to every event is pretty normal!

I then looked into the cultural understanding of eSports and how to get into them professionally. I found that a lot of the South Korean communities see eSports as either a huge business and opportunity, or completely opposite and seeing it as a huge problem and not a realistic job opportunity. This understanding of eSports and making a career out of it reflects our views of the industry here in Australia and America. Everyone is split about their views of it because simply don’t understand how people could make money or make a career out of playing games.

My final reaction to ‘State of Play’ was how many fan girls they had! I had gone into the film with my own ideas about fans, and especially the gender of the fans. From my own experience, the fan base of many gamers are dominated by males, and I had assumed that this would translate across borders. Well I found that this wasn’t the case, and that in South Korea, a lot of the fans are actually female, and I don’t understand it completely because of my own cultural experiences with eSports in Australia and America.

I found that my initial reactions and thoughts about the movie, while attempting to be impartial and not making assumptions, I let my own cultural understandings influence what I thought was interesting or weird, or even backwards. This kind of thinking I found can be both supportive and destructive to Autoethnographic, because without our own cultural understanding of issues and topics, nothing would stand out for us to analyse and realise that there is in fact a cultural difference, but without this self-awareness of our own culture interfering with our interpretations, what we analyse will forever be foreign or wrong.

Sources:

Serzberger, 2016, ‘South Korea has been doing this for a while’, ESPN, January 23 2016, viewed August 20th, <http://www.espn.com/esports/story/_/id/14628446/south-korean-esports-lifestyle&gt;

State of Play and eSports

During our recent DIGC330 class, we watched a film called ‘State of Play’, which is a documentary around the craziness and lifestyle of eSports in South Korea. It was great to not only see the culture of the industry, but to actively use Ethnography to observe and witness the differences and features of the eSport industry. After watching the filming and reflecting on what I saw, I came to conclusions based on my personal experience with the eSports industry – otherwise known as using auto ethnography.

So what does all this gibberish mean? Basically what i’m trying to describe, is the two approaches of analysing and conducting research in the field. While Ethnography is the act of making observations and conducting interviews through research, Autoethnography is the act of coming to your own conclusions through your own research, by submersing yourself in the research itself, whether by watching a film similar to what we dis in class with State Of Play, or by researching a tribe by living with them for an extended amount of time.

In his published work ‘Autoethnography: An Overview’ (2011), Ellis describes auto ethnography “As a method, autoethnography combines characteristics of autobiography and ethnography. When writing an autobiography, an author retroactively and selectively writes about past experiences.”

So what about State Of Play? Well i’ll be using the film as a case study to highlight my own experiences with these two approaches!

State Of Play

Ethnographically speaking…

I made quite a few observations throughout the film about the culture of South Korean gamers in the eSports industry.

  1. One of the first things I noticed was how each South Korean gamer carried around their own keyboards. I found this at first really weird at the beginning, because it’s a keyboard, and they were replacing the letter positions around in the bus rides.
  2. To become a professional eSports player in the starcraft league, you have to go through the trialing stages and be selected into a team. There were so many people at the trialing events trying to reach their dreams of becoming a professional gamer.
  3. Fan girls. Fan girls everywhere. It was crazy to see just how many fans these gamers have, and how committed they are to the players. They really care about their performance, and their wellbeing,

Autoethnographically speaking…

After some time thinking over my initial observations I came to conclusions through my personal experiences.

  1. I realized that this is parallel to an athlete carrying around his boots, or a football to a game. I know from personal experience of following sports that a lot of athletes do these things out of superstition and routine, and considering how big eSports are in South Korea, it’s not so crazy for this to be a normal thing.
  2. Watching the trialing and everyone being selected into teams felt like I was watching the NBA drafts, which made me feel the legitimacy of the sport and how serious it’s taken in South Korea.
  3. Again, taking into consideration just how big this sport is in South Korea, it’s not totally crazy to think that these players would have fan girls at this level, just how athletes would in our sports.
Perhaps it’s not so crazy that gamers have a large fan base considering the amount of fans Athletes and Youtubers have

 

Survive: Results + Expansions

Between the game-testing and now, i’ve added a few new things into the game. Despite the thoughts I had about removing ‘The Judge’ role from the game and opening it up to anyone that isn’t the Survivor or the Devil’s Advocate, I’ve decided to keep the role as is, because I found through more game testing that it was less intuitive to have multiple people decide the outcome of the game, especially when they disagree with each other. Playing through the game without the Judge role, made the game a lot longer, and when people held their ground about a particular outcome, it caused more arguments between themselves, and essentially ruining the fun of the game.

I’ve had a lot of problems with the graphical design, with a lack of creativity and time being the main problems. I was originally thinking of doing some basic back-arts for all the decks, which would have been the easier part of the graphical design, but for the content of the cards, no matter what deck it was in, would have to be of a similar style, and so they would have to all be custom made. I did try and approach a graphic designer to get a quote from her, but she was unable to commit to the time needed to design the graphics, even when I offered a decent pay for it.

 

A month or so back, when I first pitched this game to Chris in class, he told me that I should consider the possibilities of expansion packs of ‘Survive’, and I loved this idea! The expansion packs would work similarly to the expansion packs of Cards Against Humanity, or Super Fight, where in the expansion pack, you can either play with just those cards, or add them into the stock deck for a larger and longer game.

So here are some idea’s for possible expansions that have been bouncing around my head and suggested by some friends; Space, University, Zombie Apocalypse, World War 2, Into The Future, Into The Past.

And so that sums up the results for my game! I’ve decided to not print out my game through a professional service, and I was just going to stick with my ‘hella povo’ paper version that i’ve been using for my play-testing. I’m not too sure how far i’ll take this in the future after this class finishes, but it’s a game i’ll always love to whip out and have a quick game!

Survive: Game Mechanics

So lately i’ve been researching multiple game mechanics, and by that I mean i’ve been playing a tonne of games and calling it uni work. There are some really interesting game mechanics out there, and they really (obviously) define how fun and enjoyable the game is. So i’ve decided to list some games and explain their game mechanics, and explain how i’ve taken my favourite ones and implemented it into my game.

Monopoly:

Everyone loves monopoly. It can define and destroy friendships and families. I think i’ve heard more people say that the game is ‘banned from playing’ than ‘we enjoyed it’ when playing with family members. The reason for the hatred of the game, is because of the negotiations of property and money, and that’s the best part of the game! If you’re a good negotiator, you’re in with a great chance of winning.

My strategy is to always target the people that don’t understand the value of certain properties (all train stations vs 2 properties I need to make a set), and basically be that guy that doesn’t trade certain properties so someone can get a set. The interesting mechanic in this game is the trading and negotiating with people, you can basically decide to team up or embargo players, not trade or make wildly not fair prices on your properties. I like the idea that the interaction between players can decide the fate of the game.

Louis CK explains how well Monopoly works in a family.

SpyFall:

SpyFall works entirely through talking with other players, and group decisions. The basis of the game is that you have 4 or more players, with one person being the spy, and the rest of the players having roles, depending on the location that’s randomly selected. The spy has no idea what the location, is, and to win he must guess the location. The other players have no idea who else is either a spy or a player with a normal role., but they know that the location is.

The game works by each player taking turns to ask other players questions, to gauge whether or not they know what the location is, but not asking specific enough so that the spy will be able to guess it. I love this game because it works through the interaction of other players, and they must form their own arguments/cases/thoughts/questions/answers, and how the game goes, depends on what each person says.

I really wanted to implement this kind of game, rather than a common board game/dice roll game where you have to follow specific rules which basically guides you to the same spot. These games where the players themselves create the storyline remind me of a story generator or “choose your own adventure”, which is great because everyone’s humour and personalities are different, so it’s like making a custom made game for everyone.

NODE really present the game well here, and it’s where I first saw the game.

Super Fight:

This game is similar to SpyFall and Cards Against Humanity, in regards that it requires the players to debate and talk to each other. This game is my main influence for project SURVIVE, because I had a similar idea to Super Fight that I planned to make, until I found out it was already a game 😥

The game operates by have two players fight each other, each having their own character, strength and weakness. They then debate with each other, until the non-fighting players decide who would win in a fight. The game mechanics of this game I want to directly mirror into my own, because it’s such a perfect game mode for what I’ve envisioned for my game.

NODE, yet again, had a greta play through with this, and it’s where I also found the game

 

 

Summary:

So taking all these games into account, I’ve found all of the mechanics from these games to be fun and enjoyable, and I’ve tried to place the best ones (or the ones i’ve enjoyed the most) into my own game. Through my game testing, it worked well, the only aspect of the game mechanic that I might need to reconsider if the judge position, whether or not to have one, or just let ALL the non-players decide on the outcome.

Survive: Game Testing

Just before the uni break, I had time to play-test my game with some friends, and see if the game mechanics and cards played out how I imagined in my head. We played through the game twice with a total of 4 people,. and I found a few problems with the game so far;

  1. The timer needs to be enforced: I found some debates went for too long, so a 5min debate time needs to be implemented
  2. Scenarios: They need to be more specific, and less one-sided. For example, my “the floor is lava and you must survive for 24 hours” is too easy, because the argument was “I’ll just sit on the table for a day”
  3. More Cards: I need to create more scenario/advantage/disadvantage cards so there’s more variety
  4. Less bias strengths/weaknesses: I need to make these cards less biased, because some cards really outright determine whether you would win or lose without even a debate

So taking this all into account, i’m going to be updating my game to accommodate for these issues, and then play test them again sometime soon. I’ve hit a metaphorical wall when it comes to thinking of new creative scenarios for people to survive, it sounded easy when I first started the assignment, but actually sitting down and listing them off, I’ve found that it’s pretty difficult.

Another thing I need to invest some more time into, is the design of my game. I’m still yet to really think about or actually begin designing the aesthetics of my game, and I think i’ll leave that aspect of my game to last. I have some general ideas, but I don’t want to design parts of the game that i’ll later throw away or discard.

Chattr: Viral Media

Last week I talked about the content of Chattr, and how much it’s changed since we started back in 2015. This week, I want to talk about the content that we NEED at Chattr, to make it popular and hit a large audience, and that’s Viral Content. Through my research of Viral Content, what I basically found is that while there’s a good way to see content that’s going viral early, no one really knows how to actually a viral video, which is totally reassuring!

One of the most common explanations is that media content now travels like a pandemic, spreading through audiences by infecting person after person who comes into contact with it. The term “viral” first appeared in science fiction stories, describing bad ideas that spread like germs.

Neal Stephenson’s science fiction novel Snow Crash explains this, “We are all susceptible to the pull of viral ideas. Like mass hysteria. Or a tune that gets into your head that you keep on humming all day until you spread it to someone else. Jokes. Urban Legends. Crackpot religions. Marxism. No matter how smart we get, there is always this deep irrational part that makes us potential hosts for self-replicating information” (1992)

Here, the viral is linked to the “irrational,” the public is described as “susceptible” to its “pull,” and participants become unknowing “hosts” of the information they carry across their social networks.

Douglas Rushkoff ’s 1994 book Media Virus argues that media material can act as a Trojan horse, spreading without the user’s conscious consent; people are duped into passing a hidden agenda while circulating compelling content.

“Media viruses spread the same way biological ones spread through the body or a community. But, instead of traveling along an organic circulatory system, a media virus travels through the networks. The “protein shell” of a media virus might be an event, invention, technology, system of thought, musical riff, visual image, scientific theory, sex scandal, clothing style or even a pop hero—as long as it can catch our attention. Once attached, the virus injects its more hidden agendas into the datastream in the form of ideological code—not genes, but an equivalent we now call memes.” (Rushkoff 1994)

In the 1976 book The Selfish Gene, famed British evolutionary biologist Richard Dawkins introduced the “meme,” which was to become both an incredibly important and incredibly overused idea, just like its viral companion.

“Just as genes propagate themselves in the gene pool by leaping from body to body via sperms or eggs, so memes propagate themselves in the meme pool by leaping from brain to brain via a process which, in the broad sense, can be called imitation. If a scientist hears, or reads about, a good idea, he passes it on to his colleagues and students. He mentions it in his articles and his lectures. If the idea catches on, it can be said to propagate itself, spreading from brain to brain.” (Dawkins 1976)

Simplified versions of these discussions of “memes” and “media viruses” have given the media industries a false sense of security at a time when the old attention economy has been in flux. The way these terms are now used to mystify the way material spreads, leading professional communicators on quests to create “viral content.”

There’s a great journal about The relationship of virality and emotions by Jonah A. Berger & Katherine L. Milkman, which talks about how an angry reaction to content causes the potential virality to increase dramatically, especially when there are two opposing sides. A great example of this principle in action which springs to mind is the coloured dress craze of 2015 over social media

So What goes viral? What makes something more likely to go viral? Basically, even people that make consistent viral videos don’t know the secrets, and it probably helps that they have a larger audience to start “spreading their content virus”. Watch this video by Casey Neistat (Gets interesting from 6:10) where he talks about his methods an ideas behind what makes viral video. It’s a good summary of my research of viral content – no one knows shit.

 

References:

Jenkins & Ford & Green, HJ SF SG, 2013, ‘Creating Value and Meaning in a Networked Culture’, Spreadable Media <http://reader.eblib.com.ezproxy.uow.edu.au/(S(p2asztgthxy5k0lzakczmk2x))/Reader.aspx?p=1114591&o=580&u=G5EYdrpLLwc%3d&t=1459300270&h=609E551031458E46719C38A8D7B96C18D9FABC4A&s=43523509&ut=1771&pg=1&r=img&c=-1&pat=n&cms=-1&sd=2>

Chattr: The Content

Since my last blog post, a lot has happened with Chattr. We launched our website chattr.com.au, and we’ve been growing on every platform! Today however, I want to take a step back and talk about the content of Chattr. We used to post one or two videos a week, which were our classic Vox Pop series we started at UOW.

 

Over the last few months however, we’ve been posting videos every single day, alongside of 2-3 articles! Views on the website, and our reach on Facebook has been growing exponentially since. Here’s a great article written by Bernie Clarke, about the changes to Wattamolla, a beloved treasure in the southern suburbs of Sydney.

Although I could talk about the content over at Chattr all day long, I decided to keep looking into the theoretical parts of what makes up Chattr. Henry Jenkins and his mates have delivered yet again in their collectively written book ‘Spreadable Media‘, which is turning out to be the back bones and ‘How to’ manual for creating Chattr! I researched deeper into the text this week, and came across two concepts that directly relate to Chattr. Spreadability and Sticky Content, and Centralised vs Dispersed Media.

Spreadability and Sticky Content:

Spreadability refers to technical resources that make it easier to circulate some kinds of content than others. While the Stickiness of content refers to the need to create content that attracts audience attention and engagement. So spreadability is about how content becoming viral, like using Youtube as a medium. Stickiness is about what becomes viral, and where that content is. These are essentially two different “business models” when it comes to creating viral content.

A great quote that i’m going to shamelessly include directly from the text, originally by Malcolm Gladwell, in his text ‘The Tipping Point‘ (2000) “There is a simply way to package information that, under the right circumstances, can make it irresistible. All you have to do is find it”. So basically he’s talking about making cat videos right?

Under the stickiness model, companies gain economic value by offering merchandise through a subscription or service fee, or selling the space to advertisers. This focuses on monitoring and generating specific data on the actions of each site visitor.

Centralised vs Dispersed Media:

Centralised media refers to content that can only be viewed at a specific location, for example a website (common online media model), this concept is called the “Roach Motel”. It sounds lovely doesn’t it? Dispersed Media refers to content that can be viewed in multiple locations. An example of this is youtube, and through it’s easy embedding. 

There are perks in both.

Centralised; You may sell more advertising space, you can remove the back button essentially trapping the user on the page (increasing bounce rates)

Dispersed; easier to share, more views, user friendly

Jenkins, Ford and Green state that the key to stickiness is to keep the users in a centralised location, drawing them there, and keeping them there indefinitely to boost analysts (bounce rates). The key to spreadability is to produce content in an easy to share format.

You can think of it like network topologies, a centralised media platform is similar to a star topology – because it forces you to actual go to their website for the content, while a dispersed media platform is more of a distributed network – because you can view a youtube video from multiple locations.

Summary:

So through researching about the different spreadability/sticky models and the centralised/dispersed media models, I think it’s safe to say that there’s no clear outlier here, some models work for some people, and others work for another. It really comes down to the content and the audience. For my final digital artefact submission, I’ll be submitting alongside the website, a contextual video explaining which of these methods Chattr has decided to go down, after experimenting some more with each solution!

References:

Jenkins & Ford & Green, HJ SF SG, 2013, ‘Creating Value and Meaning in a Networked Culture’, Spreadable Media <http://reader.eblib.com.ezproxy.uow.edu.au/(S(p2asztgthxy5k0lzakczmk2x))/Reader.aspx?p=1114591&o=580&u=G5EYdrpLLwc%3d&t=1459300270&h=609E551031458E46719C38A8D7B96C18D9FABC4A&s=43523509&ut=1771&pg=1&r=img&c=-1&pat=n&cms=-1&sd=2>