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WEEK 10: GAMING COMMUNITIES, SOCIAL GAMING AND LIVE STREAMING

In a digital age, gaming has established itself as another form of social interaction, allowing people to interact with each other (both friends and ‘internet friends’) and create a new sort of community and inclusion, as well as a new approach to personal digital; citizenship. Due to new technology, such as consoles, streaming services, and handheld devices, gaming has transformed from a singular experience on arcades to a multiplayer and more diverse, collaborative experience (Hardwick 2022). As a result, communities between those with similar interests have formed micro-publics, in which gaming has further evolved to a tv show, or sport like formate where people are able to be involved without playing the game themselves through live streaming (such as on platforms such as Twitch and Youtube) (Hardwick 2022). However, these niche communities typically all cater to a certain demographic, thus relating in a male-dominated space in which these ‘gamers’ are able to gain a sense of authority through their participation and skill (Taylor 2018). This can create quote a toxic community, where gamers are encouraged to level up and take the hobby suite seriously, instead of just playing for fun.

There are also games made specifically to utilise community, where ‘friend’ networks are a crustal part of the experience. An example of this is games such as FarmVille, as well as competitive games such as COD (Call Of Duty) in which players are directly competing agains one another. More so, spats and forums such as Reddit are crucial within the gaming community, and create  sense of involvement and membership (Bergstrom & Poor 2021). Furthermore these sites allow individuals to discuss and have a sense of nostalgia for games that are no longer played, and act as a continuum for communities that may have otherwise lost connection (Bergstrom & Poor 2021). They also encapsulate the idea that gaming exists nit just on the console itv is played on, instead it extends “across multi platforms and communities who intersect” each other (Taylor 2018). Because of this, the intersect between audience and user agency allows people to extend their platform beyond casual playing, and instead build a loyal audience of likeminded people (Taylor 2018). Thus, gaming has become a new stream of income, with streamers having the ability to capitalise off their skills through streaming sites such as Twitch and Youtube, where they can monetise their content.

However, these communities can also become breeding grounds for conflict and toxicity, which is usually direct towards less experience or more casual gamers, women, and individuals for the LGBTQIA community (Taylor, 2018). Many gamers however have accepted that this “harassment”, and sense of “vertical gauntlets” as part of the experience (Taylor 2018)

References:

Bergstrom, K & Poor, N 2021, ‘Reddit Gaming Communities During Times of Transition’, Social Media + Society, vol. 7, no. 2, p. 205630512110101.‌

Hardwick, T Week 10: Gaming Communities, Social Gaming and Live Streaming, lecture slides, Digital Communications MDA20009, Swinburne University, delivered 9 May 2022

Taylor, TL 2018, Watch Me Play: Twitch and the Rise of Game Live Streaming, JSTOR, Princeton University Press, viewed 18 May 2022, <https://www.jstor.org/stable/j.ctvc77jqw?turn_away=true>.‌

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WEEK 9: DIGITAL CITIZENSHIP AND SOFTWARE LITERACY: INSTAGRAM FILTERS 

While photo filters originally started out as aesthetic design choices (such as a black and white filter, to higher contrast), they have now fully transformed into a form a face altering technology. First popularising on instagram, filtering has now transcended from the old form of picture editing, and now ones personal digital; citizenship gas allowed for more agency in choosing how one wants to appear on social media (Rettberg 2014, pg. 21). However, filters further can be seen as a metaphor for editing aspects of our life, removing or adding what we want, similar to how a ‘cigarette filter stops some of the harmful substances from reaching the smoker’s lungs’ (Rettberg 2014, pg. 21). As a result, social media has becoming a competition, with players aiming to portray the best version of themselves, with tools and filters that ‘influences and advocates the type of image one should be aiming to achieve and what should be possible or acceptable for the edited, digitized, dysmorphic version of self’ (Coy-Dibley 2016).

This new form of personal censorship of imperfects however, can have negative effects on ourselves and others in our social media circle. Snapchat ‘filters’, typically contain software that have ‘beautifying effects’, such as ‘thinning out the face, slimming and shortening the nose, enlarging the eyes, plumping the lips, and smoothing out the skin’, all typically unattainable, western features (Barker 2020, pg 209). Due to the ever changing notion of the digital age, these filters typically follow trends and further reinforce what beauty standards are trending at the time (Barker 2020, pg 211). These filters and expectations placed on typically women, have shown to create an increase in body dysmorphia and body dissatisfaction, as well as in cases of comparison to others (Coy-Dibley 2016, pg. 3). Further more, these filters can also lower self-esteem, while promoting the sexualisation of women predominately (Coy-Dibley 2016, pg. 3).

The use of filters, has also promoted a new demographic of ‘digital beauties’, which explores the transformation of real people, into digital currency where women are no longer people but images rot be desired and sexualised (Coy-Dibley 2016). The cosmetic and sex industries has further sexualised women through the expectation of using body altering software, to fulfil societal standards. While it is noted that how a woman’s body is portrayed on social media should be up to them, there is a sense of duality in the issue of sexual expression on social media, as while it aims to promote sexual freedom, it also can set unrealistic standards due to the issue of undisclosed editing (Coy-Dibley 2016).  More so, the promotion of an ‘ideal body’ that these apps aim to achieve, creates a sense of competition between women, further promoting a systemic idea that women are to compete with each other physically, and that there is a specific way their body must look to be worthy (Coy-Dibley 2016).

References:

Barker, J 2020, ‘Making-up on mobile: The pretty filters and ugly implications of Snapchat’, Fashion, Style & Popular Culture, vol. 7, no. 2, pp. 207–221.‌

Coy-Dibley, I 2016, ‘“Digitized Dysmorphia” of the female body: the re/disfigurement of the image’, Palgrave Communications, vol. 2, no. 1.‌

Rettberg J.W, 2014 'Filtered Reality'.  Download 'Filtered Reality'. In: Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves. Palgrave Macmillan, London.

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WEEK 8: DIGITAL CITIZENSHIP AND HEALTH EDUCATION: BODY MODIFICATION ON VISUAL SOCIAL MEDIA

Body modification in media has been a longstanding issue, withstanding the change from physical media, such as magazines, to social media platforms such as instagram and Facebook. More so, the rise of social media influences and celebrities has escalated this issue of responsible digital citizenship to new heights, through their promotion of unhealthy and largely unattainable body standard. Body modification refers to “procedures to achieve permanent alternations to the body” that are voluntary implemented for “aesthetic” (Lane 2017). Examples of this alternations, include procedures such as piercings, tattoos, cosmetic surgery, and gender reassignment (Lane 2017).

As of 2016 alone, instagram reported over 400 million users, with over 8- million photos being uploaded to the site a day (Dorfman et al. 2017). Since then, instagram and its personalities such as influencers and fashion bloggers has only grown. Each social media, largely has its own niche of content, and instagram has been accredited as a site that encourages the promotion of unrealistic, and ‘perfect’ aesthetics and bodies (Dorfman et al. 2017). As most digital issues, women are most targeted by this direct influencing and war on the natural body. These encouraged aesthetics, are typically sexualised, western female body standards, such as larger breasts, small dimensions, and full lips. Due to this, young women especially are at risk at being influenced to conform to these standards through cosmetic procedures. While there are unrealistic standards for men also, such as more masculine body types being encouraged, these extreme expectations of femininity are largely the most common (Carah & Dobson 2016)‌.

Systemically, the sexualisation of the female body confirms the idea that women re seen as less, and their worth is subject to their public appearance and presence on social media (Carah & Dobson 2016). With social media being the new dominating busses marketing scheme for fashion, plastic surgery, and health products (Dorfman et al. 2017 pp.33)  As reported by Dorfman et al., 42% of plastic surgery’s have experienced instances of patrons exploring options of plastic surgery after social media use, especially posts including hashtags such as #plasticsurgery and #boobjob (Dorman et al. 2017). Body dissatisfaction, can largely be appointed as the reason for so much digital body modification, and is largely a social problem backed up by psychological theories (Mavroudis 2022). 

So what can we do to combat this issue? As users of social media, we have our own sense of digital citizenship that actively shapes the culture of micro-celebrities, while also influencing the identity practices (both positive and negative) that surrounds them (Mavroudis 2022). However, it is not just up to consumers to regulate this issue. Greater regulation of public health campaigns must be implemented by the online influencers themselves, as they are who are able to “control the spread” of these unrealistic, unhealthy body image standards (Mavroudis 2022). 

References:

Carah, N & Dobson, A 2016, ‘Algorithmic Hotness: Young Women’s “Promotion” and “Reconnaissance” Work via Social Media Body Images’, Social Media + Society, vol. 2, no. 4, p. 205630511667288.‌

Dorfman, RG, Vaca, EE, Mahmood, E, Fine, NA & Schierle, CF 2017, ‘Plastic Surgery-Related Hashtag Utilization on Instagram: Implications for Education and Marketing’, Aesthetic Surgery Journal, vol. 38, no. 3, pp. 332–338.‌

Lane, DC 2017, ‘Understanding body modification: A process-based framework’, Sociology Compass, vol. 11, no. 7, p. e12495.‌

Mavroudis, J, Week 8: Digital Citizenship and Health Education: Body Modification on Visual Social Media, lecture slides, Digital Communities MDA20009, Swinburne University, delivered  25 April 2022

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WEEK 7: DIGITAL CITIZENSHIP AND CONFLICT: SOCIAL MEDIA GOVERNANCE 

While social media enables individuals with a digital presence to voice their own opinions with a sense of agency, it also allows negative dialogue to form, usually in the form of online harassment and bullying. This umbrella term, refers to behaviours such as offensive name calling, intent to purposely embarrass someone, physical threats, sexual harassment, rumours, as well as impersonation or harm online (Lenhart et al. 2016). In extreme cases, these behaviours can extend beyond the online sphere, and take forms in behaviours such was doxing and attempts to hurt the victim in person, after extended online harassment (Lenhart et al. 2016).

When discussing online harassment and bullying, it is important to note that it is largely a gendered issue, with women (typically young, women of colour), being at the forefront of the abuse (Marwick and Caplan 2018). Typically, online abuse that targets women who are openly feminists or progressive is perpetrated by individuals from an echo chamber. As coined by Marwick and Caplan, this  “manosphere”, encapsulates ‘blogs, podcasts, and forums’ (2018). Many members of this subsection are anti feminists, pickup artists, and mens rights activists, who’s discourse largely includes a common dialogue, even if their views and values slightly differ (Marwick & Caplan 2018). Members of these groups who partake in cyberbullying also use what Is called ‘gaslighting’, which refers to ‘the psychological manipulation of a person in order to erode their sense of self and sanity’ (Gleeson 2018). Online harassment is usually related to a sense of power. These groups aim to seek power and control over others, through behaviours of bullying and intimidating, which gaslighting can be effective at achieving (Gleeson 2018, Marwick & Caplan 2018).

Because of this, social media governance has never been so important. There are numerous ways that this sort of sanctions can be implemented. Firstly, governance at a micro level ( such as social media moderation and group governance by an outsourced, impartial group), and a macro level (such as government laws and considerations on a state/ nation level) (Marwick & Caplan 2018). By definition, social media governance refers to a a set of rules, regulations, and an ongoing commitment which focuses on evaluating and Identifying behaviours that are harmful to others in the social public sphere. In Australian, there are numerous legal remedies to fulfil the role of social governance, such as The Criminal Code Act 1995, as well as The Online Safety Act 2021. Both legislations protect victims from online abuse, specifically in relation to minors and unsafe image sharing.

With the rise of social media stars, social media bullying has never been so rampant. It is important to have multiple forms of governance in place, both from legislative sources and from members of the community in order to mitigate this.

Resources:

Gleeson, J 2018, Explainer: what does ‘gaslighting’ mean?, The Conversation.‌

Lenhart, A, Ybarra, M, Zickuhr, K & Price-Feeney, M 2016, ONLINE HARASSMENT, DIGITAL ABUSE, AND CYBERSTALKING IN AMERICA, 21 November.‌

Marwick, AE & Caplan, R 2018, ‘Drinking male tears: language, the manosphere, and networked harassment’, Feminist Media Studies, vol. 18, no. 4, pp. 543–559.‌

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WEEK 6: DIGITAL CITIZENSHIP AND SLOW FASHION 

In an age of social media, social influencers, and more and more fashion brands popping up everyday, fast fashion has never been so prevalent.However, activism surrounding the much more ethical practice of slow and sustainable fashion is still just as much on the forefront of the fashion industry then ever. Sustainable fashion, refers to providing essential goods, while making a conscious effort to minimise the use of natural resources, emissions of waste and pollution, unsustainable materials, while also aiming to not jeopardise future generations supplies and needs (Henninger et al. 2017). Online media campaigns condemning fast fashion has been popular since they 19760s, in opposing subjects such as the use of animal fur, and unethical working conditions (Henninger et al. 2017).

Social media involvement with digital citizenship, allows for individuals to share their opinions and views on fast fashion, and allows them to advocate to a large audience of the unethical practices and how they can change their habits ti better benefit the industry and the declining climate that fast fashion contributes to. As the Henninger et al. 2017 study found  while consumers had a positive view towards sustainable and ethical practices, it was noted that consumers tend to have a lack of knowledge on where their clothes are coming from and the impact their clothes have on the environment the fashion industry has (Henninger et al. 2017). In the age of social media, no one is more influential to the average consumer than social media influences. 

An example of this, is the cloth swapping service Big Sister Swap (BSS) , a service that’s TikTok presence has gained traction over there past year. Aiming to promote less over consuming BSS allows consumers to swap clothes with over users, regardless of size ( which Is regularly an issue of people of plus sizes in the fashion industry), creating a more sustainable and ethical approach to fashion (Nast 2022). As Hudi explains in this article, “it keeps clothes in circulation, and avoids sending them to landfill” (Nast 2022). Estimated by the owners of BSS, reducing the efforts of fast fashion has saved around 80 million litres of water (Nast 2022). This is proven to be an effective approach to lessening the effects of fast fashion, as it utilises materials in a sustainable way which is less harming to the environment, and utilising recycling and up cycling of fashion (Henninnger et al. 2017). 

The participation of slower fashion practices in this way is a prime example of digital citizenship, as these people are positively benefiting society as a whole and are encouraging the membership of other individuals in society, as well as encouraging active participation in urging for better practices is the fashion industry (Milne, 2022)

References:

Henninger, CE, Alevizou, PJ, Goworek, H, Ryding, D & Springerlink (Online Service 2017, Sustainability in Fashion : A Cradle to Upcycle Approach, Springer International Publishing, Cham.‌

Nast, C 2022, ‘It’s time to get to know Big Sister Swap, AKA the personalised clothes swapping service that everyone is talking about’, Glamour UK, viewed 6 April 2022, <https://www.glamourmagazine.co.uk/article/big-sister-swap?utm_source=onsite-share&utm_medium=email&utm_campaign=onsite-share&utm_brand=glamour-uk>.‌

Milne, E 2022, Week 6: Digital Citizenship and Slow Fashion, lecture slides, Digital Communities MDA20009, Swinburne University, delivered 4 April 2022

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WEEK 5: DIGITAL CITIZENSHIP 

Digital citizenship has proven to be a crucial part of how Australians approach and view politics. Digital citizenship, is largely fostered by social media, due to these apps and sites ability tp form individual views and opinions because of the accessible sharing go ideas, public discourse and loose organisation due bro a shared interest or conversation point. These may be guided by hashtags, certain accounts or pages. 

An example explores in this weeks lecture, and reenforced in the readings is, the use of hashtags. The hashtag #auspol has the ability to connect individuals with the same goal; of sharing their relative themes, talking about events facilitating particular searches (Bogle 2016).

Hashtag politics, as coined by Bruns & Burgess; Rambukkana, aids in creating a sense of connectives, combining individuals personal citizenship into a group formation (Milne 2022). The organisation of personal experiences is pivotal in creation open and effective communication of politics from every region and type of person in an accessible way.

This weeks reading, explored how digital citizenship is greatly influenced by politics, and how political discourse influences an individual’s sense of citizenship in a public, digital age of communication. Over recent years, how political parties and organisations spread their message, recite new members, and explore their opinions has shifted to an online space, making it more accessible and appealing to a larger demographic (Ariadne Vromen 2017). More so, this means of communication and use of personal citizenship aims to change the personal views of the community to aline with their own (Ariadne Vromen 2017). These once ‘unconventional’ methods, as described by Vromen have been normalised, due to its more versatile nature Ariadne Vromen 2017). Members of the a less formal method of participation online are able to boycott, express their views, and other methods of political pioneering (Ariadne Vromen 2017). However, as the reading explores, there are also downfalls to this method of political exploration and digital citizenship. Social medias close relation to politics may foster a more individual approach to these issues, causing effective and interconnected ‘allegiances’ to political teams to be less communion and effective (Ariadne Vromen 2017). However, it may be argued that this is unavoidable with digital citizenship, as people are more easily able to share their own opinions, views and values without having to be backed by a group or organisation (Ariadne Vromen 2017).

References:

Ariadne Vromen 2017, Digital citizenship and political engagement the challenge from online campaigning and advocacy organisations, Palgrave Macmillan, [] Ã, London.‌

Bogle, A 2016, ‘#auspol: The Twitter hashtag Australia can’t live without’, Mashable, viewed 6 April 2022, <https://mashable.com/article/twitter-australia-auspol#4tvfXtsZUEqV>.‌

Milne, E 2022, Week 5: What is digital citizenship? Hashtag Publics, Political engagement and activism, lecture slides, Digital Communities MDA20009, Swinburne University, delivered 28 March 2022

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WEEK 4: DIGITAL COMMUNITY AND FANDOM

This week, we explore how emerging forms of entertainment, specifically reality TV programs, allow for a new form of communication and facilitation of discussion. Specifically, a more informal approach to conversation that is more comfortable and actable to all involved. These new form of communications, or public spheres that are specifically designated for particular groups of people with same interests, or ‘fandoms’(Graham & Hajru 2011). Fandoms, which could be considered a form of a public sphere, refers to a group of individuals who come together, collectively as a community due to a mutual fondest of a particular show, team, person, or series  (Cambridge English Dictionary n.d.). The idea of a ‘public sphere’, refers to a place where otherwise private people, are able to come together to interact and create a dialogue, which form their own opinions and view and those that they share with others (Graham & Hajru 2011). Examples of these, include the use of hashtags or online threads, such as #Auspol on twitter, or the search term LGBTQIT+ on Twitter. 

The term ‘life politics’ as explored by Graham and Hajru, suggests that members of society are invested in political spaces that concerns them, not only as members of the society but from other parts of their identity from a diverse standpoint (Graham & Hajru 2011). These standpoints, are related to significant parts of their identity (Graham & Hajru 2011) By exploring social media citizenship, it is easy to see how individuals are able to explore politics from a less formal, and more public standpoint (Graham & Hajru 2011).

Case Study: Reality TV

Arguably the most popular form of entertainment in recent years, varying types of reality tv genres have dominated our screens. These include dating platforms, lifestyle alterations talent contests, celebrity centred programs and many more (Milne 2022). It is easy to see why these shows are such a hit with the public, capturing everyones attention with their over the top characters, unpredictability and often their sense of political incorrectness. Because of this, the facilitation of conversation on social media surrounding these shows is arguably unavoidable (L’Hoiry 2019).

In this weeks lecture, we explored two areas of social media engagement in relation to reality tv.

Firstly, the lecture explored how social media has transformed the role of the audience, and how their engagement with these programs and the people on them is so much more connective, and arguable more personal, then it was previously. More so, with the public being such a contributing part to these peoples fame, they are influenced by social media to create “good tv” to ensure that their fleeting attempt at stardom is long lasting (L’Hoiry 2019).

Secondly, the idea that reality TV creates its own digital publics was considered. Using the example of ‘Married at First Sight’ (MAFS) and how the show has created its own public sphere, with the hashtag #MAFS (Milne 2022). By using this hashtag, watchers of the show are able to explore the ethics of certain issues involved, and voice their opinion of people on the show and the show itself (Milne 2022)

Public spheres are important, as they give a look into what regular members of society are thinking, and what they value (Graham & Hajru 2011) They provide personal anecdotes, their everyday knowledge, and their views allow researchers better understand society, and how a sense of citizenship may emerge (Graham & Hajru 2011)

References:

Cambridge English Dictionary n.d., ‘FANDOM | meaning in the Cambridge English Dictionary’, dictionary.cambridge.org, viewed .‌

Graham, T & Hajru, A 2011, ‘Reality TV as a trigger of everyday political talk in the net-based public sphere’, European Journal of Communication, vol. 26, no. 1, pp. 18–32.‌

L’Hoiry, X 2019, ‘Love Island, Social Media, and Sousveillance: New Pathways of Challenging Realism in Reality TV’, Frontiers in Sociology, vol. 4.‌

Milne, E 2022, Week 4: Reality TV Case Study, lecture slides, Digital Communities MDA20009, Swinburne University, delivered 21 March 2022

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WEEK 3: TUMBLR: A DIGITAL COMMUNITY

see above: MDA20009 students running to sign up for Tumblr.

Following its creation in 2007, tumblr has established itself as the leader in the creation of different echo chambers for online communities and digital socialites.

While platforms such as instagram and TikTok have increasingly overtaken Tumblr in popularity, it is easy to see how Tumblr is still the preferred space of communication for many digital socialites (Keller 2019). Specifically, this includes LGBTQIA+ groups, fandoms, and shared interests that create online communities, a clientele that has lasted since the sites creation.

In Jessalynn Keller’s article (2019, p.5) she references the term platform vernacular, referring to a direct connection between a site and its patrons, as well as a particular set of habits and platform specific norms (Keller 2019). Evidently, this can be a reason as to why this longstanding trend of Tumblr users has stood for so long and the site will continue to serve its users.

More so, this creation of safer, more connected ecochambers Tumblr provides, creates the perfect platform for young feminists, especially girls, to explore and share their ideologies. As a result, Tumblr is commonly used as a place for activism and a place for marginalised individuals to find a community. An example of this used in ‘a tumblr book: platform and cultures’, is the Black community and their activism (McCracken 2020). Social justice is easily recognised as a predominantly online agenda in recent years, and this can be appointed to tumblrs community and its interface (McCracken 2020).

As Keller explores, Tumblr is a more appropriate platform for the type of political discourse that teenage girls discuss, without the typical ridicule, jokes and judgment that tends to approach on other apps and sites (Keller 2019). In comparison to Facebook, many users felt that the site was not appropriate for the type of conversation they were aiming to create (Keller 2019). As Facebook prides itself on its sense of ‘real connection’ that condemns fake or anonymous accounts, users are typically connected, and ‘friends’ with, family, friends, peers and coworkers, meaning that they may not feel comfortable expressing themselves or their perhaps controversial opinions (Keller 2019). Tumblr however, allows for more internet connections with likeminded people that you may otherwise not know and would relate to your expression in a more accepting way.

As Elspeth Reeves explores in her article, 'The Secret Lives of Tumblr Teens' , Tumblr portrays a certain sense of anonymity, giving the user a sense of unity and freedom within that connection to each other, in a way that has no strings attached ‌(Reeve 2016).

References:

Keller, J 2019, “‘Oh, She’s a Tumblr Feminist’: Exploring the Platform Vernacular of Girls’ Social Media Feminisms,” Social Media + Society, vol. 5, no. 3, p. 205630511986744.

McCracken, A 2020, ‘a tumblr book: platform and cultures’, ACLS Humanities EBook, University of Michigan Press, viewed 6 April 2022, <https://www.fulcrum.org/concern/monographs/x346d608w>.‌

Reeve, E 2016, ‘The Secret Lives of Tumblr Teens’, The New Republic, viewed <https://newrepublic.com/article/129002/secret-lives-tumblr-teens>.‌