These thoughts were produced at the end of my time on this project, in May of 2012, for the Virtual Worlds Research Group at Roskilde University. These thoughts involve my reflection on the project that I completed as part of the research group, and do not reflect the thoughts of anyone else involved with the project. Overview My primary interest in developing a virtual worlds entertainment … Continue reading Reviewing the Virtual Worlds Entertainment Study
This is the end result of the work I have been doing with Pooky Amsterdam. This paper is the write-up of the presentation Avatars, Audiences and Interactive Television. I do not think there is enough in this paper to make pursuing publication worthwhile, but I do hope to use the categorizations of the three types of interactive television more, perhaps in an essay exploring the … Continue reading Virtual World Television and Interactive Television
This post contains a research proposal I wrote in 2008 for a project to involve virtual worlds that I never completed. This proposal would be changed to become the main experiment I did with the Roskilde University Virtual Worlds Research Group. If anyone is interested in building off this proposal, then please contact me. Sense-making and users’ experiences with avatars: How knowledge is constructed of … Continue reading Sense-Making and Avatars Research Proposal
This essay was originally posted as part of my work for the Virtual Worlds Research Group at Roskilde University. This essay reflects my interest in how pop culture represents new media technologies, such as virtual worlds, as part of the process whereby a society / culture comes to determine what will be the acceptable and thus normal use of such technologies. My reflection on this phenomenon in 2011 suggests the tensions that can occur during such a normalization process; in this case, the seeming fear of virtual worlds that exists in the world. This interest led to the creation of my course “New Media in Pop Culture” launched in January 2014, which I will write about further in this blog.
Ghost Whisperer’s Ghost in the Machine: An example of pop cultural representation of virtual worlds
Since the fall of 2005, on Friday nights in the United States on CBS you can find the series Ghost Whisperer (NOTE: the series ended in 2010). The series is about a woman, Melinda (Jennifer Love Hewitt), who can communicate with, and thus help, ghosts. In the third episode of the fourth season, “Ghost in the Machine” (originally aired October 17, 2008), the ghost emerges from a virtual world to draw her into a case about one of the oft-discussed threats of going digital: online predation.
In this episode, virtual worlds are both defined through conversation amongst characters and visual representation for those unfamiliar with these new-ish cyberterrains. However, the use of the virtual world, created for the show, is less to explore what these cyberterrains are and more to use them for a traditional morality tale on the dangers of talking to strangers.
The following paper comes from a presentation given at ECREA in 2010 and at NCA in 2011 (the version of which can be found here on the blog). I submitted this paper to a journal, but never did anything with it after it was rejected. I still think there are interesting ideas in the paper, so I wanted to share it here.
Metaphors for making sense of virtual worlds:
Utilization of comparison processes to interpret and communicate novel experiences
How do we make sense of the world around us? When faced with a situation that is new to us, what do we do to understand what is happening and what is required of us? Such questions have been with us for thousands of years, whether faced by individuals within such situations, or addressed by organized scientific, philosophic, cultural or other fields of thought. Coming from a trajectory of reception studies and audience studies, these situations can be any time a person chooses a new book to read, watches a new motion picture, starts a new video game, or enters a virtual world for the first time. In engaging in these activities, people bring into the situation any number or type of cognitive and emotive behaviours to help them through it. From expectations based on knowledge of the media product’s genre to information gleaned from word-of-mouth critiques, our experiences can help us make sense of the content and the technology with which we engage.
This article considers how people utilized their personal experiences to make sense of the first time they stepped into two specific virtual worlds. In an experiment for the Danish Virtual Worlds Research Project, relative novices engaged with four types of media products, including a game world, City of Heroes, and a social world, Second Life (Reinhard, 2010). The participants were interviewed about their experiences by utilizing Dervin’s Sense-Making Methodology (SMM) to inform the data collection and analysis. What emerged during the study were participants making comparisons between what they were doing and either what they had done or knew of to make sense of these new experiences. In other words, they were describing their experiences metaphorically: they were making comparative statements linking two entities based on some perceived similarity or dissimilarity. They were looking for overlaps between experiences in order to transfer knowledge and/or skills from the familiar to the unfamiliar.
This article begins with defining the nature of the virtual worlds and the conceptualization of sense-making. After an introduction of the methodology and method of data collection and analysis, the metaphors are presented for how they relate to specific sense-making instances: the questions people voiced, and how they felt helped or hindered in the media engaging experience. The analysis is then used to discuss the utility of metaphors as part of the sense-making process, and how the study of people’s metaphors could assist designers to create technology and content to better facilitate people’s experiences with virtual worlds.
This presentation was given at the 100th National Communication Association Conference in Chicago on November 21, 2014. This presentation reflects the work I have done with Pooky Amsterdam to understand the nature and potential of virtual world television as reported in the Journal of Virtual World Research. This presentation was awarded one of the Top Paper Awards for the Communication of the Future Division.
The current state of affairs brings what is “television” into question. Amongst the various layers of activity and discourse that surround it, “television” can, and perhaps should, be deconstructed into at least two primary components: the content it relays, “television-as-content,” versus the technical interface it is, “television-as-technology”. There may soon come a time when the idea of watching television does not involve the use of a television set. Instead, television content will be increasingly divorced from the medium for which it was developed: over-the-air broadcasting of audiovisual content. At that time, television-as-content will become another aspect of the Internet.
These challenges to what is “television” are also challenges to the traditional models of production, distribution, exhibition and consumption that have for so long defined it. These challenges are also implicated in the move toward higher interactivity. The traditional models are predicated on transmission and passivity, whereas the interactive models require dialogue and activity. Concepts and technologies like video on demand, time-shifting, and social television are all part of these challenges. This paper explores yet another, virtual world television or VWTV. With VWTV, we are seeing another possible location for the evolution of television.
Richard Kastelein, an expert on social television and transmedia storytelling, presents his work on Twinners, an attempt at creating a real time virtual world television experience. Experience Spotlights: Richard Kastelein Continue reading Experience Spotlights: Richard Kastelein