If you have not played with "warp" from youtube, you should, its a very cool way to navigate through videos.
Henry Jenkins' second chapter of Convergence Culture (2006) introduces his model of "affective economics," explaining newly formed network, sponsor, and viewer relationships. This "new configuration of market theory which seeks to understand the emotional underpinnings of consumer decision making as a driving force behind viewing and purchasing decisions," values different viewers according to their commitment to the program. Consumers' tastes are being commodified and accepted or rejected in accordance with arising goal of a "brand community."
Our readings this week again discussed how one forms social and personal cyber identities, specifically in regard to minorities. Pervasive is the new notion of an uncentered multi faceted self. The popularity of concepts such as Miller's "'Transpostites'" and Nakamura's "identity tourism" reveal how the Internet transgresses boundaries as exclusive as race and gender. However, as these questions of identity and cyber performance arise, one must ask whether the binary oppositions are truly deconstructed, or just hidden a little deeper.
I'm not doing this weeks reading response because it was m presentation week and i feel that anything that i felt needed to be covered was covered in our presentation. I simply would not have much to say. However I look forward to writing on Convergence Culture.
These are the questions and discussion topics from Convergence Culture chapter 2 that we did not get to in class:
Chapter 2: Buying into American Idol
How do you think current television seeks to locate, understand, and manipulate the emotional underpinnings of viewers? Draw examples from shows and episodes in particular if you can.
How are "brand communities" built? How are this community's desires molded and commoditized by the network and its sponsors?
I would argue that the story elements from games and other forms of media, such as books, film and plays, actually do share certain story telling traits, but only at the broadest level of story telling. Cyberdrama, as Janet Murray calls it, is "a collaborative improvisation, partly generated by the author's coding and partly triggered by the actions the interactor takes within the mechanical world." (Murray 5) That is, part of the cyberdrama is created by the creaters of the game itself.
In this weeks reading we talked about our relationship too them.i personally feel that even though we as gamers enjoy picking our characters, there is no deep rooted relationship formed between gamer and created character.
Here is the updated version of my game. Try it out. If you leave a comment on my project I promise to look over your project.
anyone want to test out my text-based adventure game? It still needs a little work but its functional. If you want to, let me know and I can send you my file (its not on a website).