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Tama Leaver
I’m an Associate Professor of Internet Studies at Curtin University in Perth, Western Australia. My research interests include online identity, social media, digital death, infancy online, mobile gaming and the changing landscape of media distribution. I’ve has published in a number of journals including Popular Communication, Media International Australia, First Monday, Comparative Literature Studies, Social Media and Society, Communication Research and Practice and the Fibreculture journal, and am the author of Artificial Culture: Identity, Technology and Bodies (Routledge, 2012); co-editor of An Education in Facebook? Higher Education and the World’s Largest Social Network (Routledge, 2014) with Mike Kent; and Social, Casual and Mobile Games: The Changing Gaming Landscape (Bloomsbury Academic, 2016) with Michele Willson. I’ve been awarded teaching awards from the University of Western Australia, Curtin University, and in 2012 received a national Australian Award for Teaching Excellence in the Humanities and the Arts. I’m @tamaleaver on Twitter, and my web presence is www.tamaleaver.net.
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An Education in Facebook? provides a broad discussion of the issues educators are already facing on college campuses worldwide, particularly in areas such as privacy, copyright and social media etiquette. By examining current uses of Facebook in university settings, this book offers both a thorough analytical critique as well as practical advice for educators and administrators looking to find ways to thoughtfully integrate Facebook and other digital communication tools into their classrooms and campuses.
Building on the rich foundational work on the figures of the cyborg and posthuman, this book situates the artificial in similar terms, but from a nevertheless distinctly different viewpoint. After examining ideas of the artificial as deployed in film, novels and other digital contexts, this study concludes that we are now part of an artificial culture entailing a matrix which, rather than separating minds and bodies, or humanity and the digital, reinforces the symbiotic connection between identities, bodies, and technologies.
An Education in Facebook? provides a broad discussion of the issues educators are already facing on college campuses worldwide, particularly in areas such as privacy, copyright and social media etiquette. By examining current uses of Facebook in university settings, this book offers both a thorough analytical critique as well as practical advice for educators and administrators looking to find ways to thoughtfully integrate Facebook and other digital communication tools into their classrooms and campuses.
Building on the rich foundational work on the figures of the cyborg and posthuman, this book situates the artificial in similar terms, but from a nevertheless distinctly different viewpoint. After examining ideas of the artificial as deployed in film, novels and other digital contexts, this study concludes that we are now part of an artificial culture entailing a matrix which, rather than separating minds and bodies, or humanity and the digital, reinforces the symbiotic connection between identities, bodies, and technologies.
Keywords: professional development, blended learning, online learning, higher education
by Dr Tim Highfield, QUT @timhighfield
Social Media Research Group
& Dr Tama Leaver, Curtin University @tamaleaver
Department of Internet Studies
Tim Highfield and Tama Leaver
Social media platforms for content-sharing, information diffusion, and publishing thoughts and opinions have been the subject of a wide range of studies examining the formation of different publics, politics and media to health and crisis communication. For various reasons, some platforms are more widely-represented in research to date than others, particularly when examining large-scale activity captured through automated processes, or datasets reflecting the wider trend towards ‘big data’. Facebook, for instance, as a closed platform with different privacy settings available for its users, has not been subject to the same extensive quantitative and mixed-methods studies as other social media, such as Twitter. Indeed, Twitter serves as a leading example for the creation of methods for studying social media activity across myriad contexts: the strict character limit for tweets and the common functions of hashtags, replies, and retweets, as well as the more public nature of posting on Twitter, mean that the same processes can be used to track and analyse data collected through the Twitter API, despite covering very different subjects, languages, and contexts (see, for instance, Bruns, Burgess, Crawford, & Shaw, 2012; Moe & Larsson, 2013; Papacharissi & de Fatima Oliveira, 2012)
Building on the research carried out into Twitter, this paper outlines the development of a project which uses similar methods to study uses and activity on through the image-sharing platform Instagram. While the content of the two social media platforms is dissimilar – short textual comments versus images and video – there are significant architectural parallels which encourage the extension of analytical methods from one platform to another. The importance of tagging on Instagram, for instance, has conceptual and practical links to the hashtags employed on Twitter (and other social media platforms), with tags serving as markers for the main subjects, ideas, events, locations, or emotions featured in tweets and images alike. The Instagram API allows queries around user-specified tags, providing extensive information about relevant images and videos, similar to the results provided by the Twitter API for searches around particular hashtags or keywords. For Instagram, though, the information provided is more detailed than with Twitter, allowing the analysis of collected data to incorporate several different dimensions; for example, the information about the tagged images returned through the Instagram API will allow us to examine patterns of use around publishing activity (time of day, day of the week), types of content (image or video), filters used, and locations specified around these particular terms. More complex data also leads to more complex issues; for example, as Instagram photos can accrue comments over a long period, just capturing metadata for an image when it is first available may lack the full context information and scheduled revisiting of images may be necessary to capture the conversation and impact of an Instagram photo in terms of comments, likes and so forth.
This is an exploratory study, developing and introducing methods to track and analyse Instagram data; it builds upon the methods, tools, and scripts used by Bruns and Burgess (2010, 2011) in their large-scale analysis of Twitter datasets. These processes allow for the filtering of the collected data based on time and keywords, and for additional analytics around time intervals and overall user contributions. Such tools allow us to identify quantitative patterns within the captured, large-scale datasets, which are then supported by qualitative examinations of filtered datasets.
References
Bruns, A., & Burgess, J. (2010). Mapping Online Publics. Retrieved from http://mappingonlinepublics.net
Bruns, A., & Burgess, J. (2011, June 22). Gawk scripts for Twitter processing. Mapping Online Publics. Retrieved from http://mappingonlinepublics.net/resources/
Bruns, A., Burgess, J., Crawford, K., & Shaw, F. (2012). #qldfloods and @ QPSMedia: Crisis Communication on Twitter in the 2011 South East Queensland Floods. Brisbane. Retrieved from http://cci.edu.au/floodsreport.pdf
Moe, H., & Larsson, A. O. (2013). Untangling a Complex Media System. Information, Communication & Society, 16(5), 775–794. doi:10.1080/1369118X.2013.783607
Papacharissi, Z., & de Fatima Oliveira, M. (2012). Affective News and Networked Publics: The Rhythms of News Storytelling on #Egypt. Journal of Communication, 62, 266–282. doi:10.1111/j.1460-2466.2012.01630.x
Present 1 February 2014 at the Surveillance, Copyright, Privacy: The end of the open internet Conference at the University of Otago in Dunedin, New Zealand.
The concepts of ‘social network markets’ reframes the creative industries not so much as the generators of intellectual property outputs, but as complex markets in which the circulation and value of media is as much about taste, recommendations and other networked social affordances (Potts, Cunningham, Hartley, & Ormerod, 2008). For mobile games, one of the most effective methods of reaching potential players, then, is through the social attentions and activity of other players. Rovio have very deliberate in the wide-spread engagement with players across a range of social media platforms, promoting competitive play via Twitter and Facebook, highlighting user engagement such as showcasing Angry Birds themed cakes, and generally promoting fan engagement on many levels, encouraging the ‘spreadability’ of Angry Birds amongst social networks (Jenkins, Ford, & Green, 2013). In line with recognising the importance of engagement with the franchise, Rovio have also taken a very positive approach of unauthorised merchandising and knock-offs, especially in China and South-East Asia. In line with Montgomery and Potts’ (2008) argument that a weaker intellectual property approach will foster a more innovative creative industries in China, rather than attempting to litigate of lock down unauthorised material, Rovio have stated they see this as building awareness of Angry Birds and are working to harness this new, socially-driven market (Dredge, 2012). As Rovio now license everything from Angry Birds plush toys to theme parks, social network markets can be perpetuated even by unauthorised material, which builds awareness and interest in the official games and merchandising in the long run. Far from a standalone example, this paper argues that not only is Rovio consciously situating Angry Birds within a social network market model, but that such a model can drive other mobile games success in the future.
References
Dredge, S. (2012, January 30). Angry Birds boss: “Piracy may not be a bad thing: it can get us more business.” The Guardian. Retrieved from http://www.guardian.co.uk/technology/appsblog/2012/jan/30/angry-birds-music-midem
Jenkins, H., Ford, S., & Green, J. (2013). Spreadable Media: Creating Value and Meaning in a Networked Culture. New York and London: New York University Press.
Montgomery, L., & Potts, J. (2008). Does weaker copyright mean stronger creative industries? Some lessons from China. Creative Industries Journal, 1(3), 245–261. doi:10.1386/cij.1.3.245/1
Potts, J., Cunningham, S., Hartley, J., & Ormerod, P. (2008). Social network markets: a new definition of the creative industries. Journal of Cultural Economics, 32(3), 167–185. doi:10.1007/s10824-008-9066-y
Dedicated media fans have always been at the forefront of social practices centred on timely viewing of television series and films, and thus also often early adopters in unauthorised file sharing when that has been the most effective way to view their chosen media products (Jenkins, 2006). However, the desire to participate in global conversations about media has become more and more mainstream. Sporting events such as the Football World Cup, the Olympic Games, and Hollywood events such as the Academy Awards attract global conversations in real-time via Twitter, Facebook and other social platforms (Bruns, 2011). Indeed, while these large-scale events used to be outliers, today more and more television viewing, for example, involves social viewing practices, including discussions on Twitter, Facebook or other, bespoke, television viewing apps on the increasingly important ‘second screen’ of a tablet. Building on existing work which posited the tyranny of digital distance in relation to television distribution and fan viewing practices (Leaver, 2008) this paper will argue that the mainstreaming of social viewing practices is yet another reason why media industries need to move away from delayed, segmented media releases wherever possible.
To illustrate the need to rethink regional distribution, this paper will examine the impact of Australian production company Matchbox Pictures, approaching AFACT (the Australian Federation Against Copyright Theft) after detecting unauthorised peer-to-peer distribution of their mini-series The Slap in Europe. AFACT’s inquiries resulted in international police efforts leading to the closure of the popular file-sharing community Diwana.org which hosted mainly Australian television content for an expatriate audience. In a letter posted after their forced closure, the administrators of Diwana.org claimed Matchbox Pictures “caused the destruction of a 40,000 strong vibrant international community that took active pleasure in sharing content that generally was completely unavailable to them.” While Dwiana.org was not authorised to distribute most of the content shared via their website, the point that there are no legal ways whatsoever to access this material (ever, in many cases) is an important one, and does beg the question as the value of forcing this website to close when a more innovative and commercially-minded approach would have been to find ways to monetize the clear demand of expatriate Australian viewers for domestic television. Using a case study of litigation around The Slap, and several other examples, this paper will argue that the legal reinforcement of distance in the era of informatic media can be usefully conceptualised as the tyranny of digital distance, where ‘digital distance’ highlights the inherent contradictions in a global digital economy operating along national distribution patterns. Far from protecting industries, the emphasis on litigation, legislation and creating digital distance, it is argued, does existing industries more harm than good, and normalises practices of unauthorised file-sharing to the point where ‘piracy’ is the norm, not the exception.
References
Bruns, A. (2011, March 2). Twitter Spoils the Oscars Party for Channel Nine. Mapping Online Publics. Retrieved from http://www.mappingonlinepublics.net/2011/03/02/twitter-spoils-the-oscars-party-for-channel-nine/
Danaher, B., & Waldfogel, J. (2012). Reel Piracy: The Effect of Online Film Piracy on International Box Office Sales. SSRN Electronic Journal. doi:10.2139/ssrn.1986299
Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide (illustrated ed.). NYU Press.
Leaver, T. (2008). Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance. Media International Australia, (126), 145–154.
This paper will outline an investigation into the effectiveness of the Uni Coffee Shop group as a student-created space for engagement and informal learning. Three modes of inquiry were used: a textual analysis of the common topics of discussion in the group over several months; a quantitative survey of members of the Coffee Shop group; and several follow-up qualitative interviews with Coffee Shop group members, including the two students who administer the group. In addition, the paper includes the perspectives of teaching staff who have been invited to join the group by students and who, at times, answer specific questions and engage with students in a less formal manner. In detailing the results of these mechanisms, this paper will argue that fostering student-run spaces of engagement using Facebook can be a very effective means to create spaces of engagement and informal learning (Krause & Coates, 2008; Greenhow & Robelia, 2009); the support students give each other can persist over the length of an entire degree; and teaching staff engaging with students in their space, often on their terms, can create a better rapport and a stronger sense of connectivity over the length of a student’s entire degree (and potentially beyond). A student-run Facebook group also provide a space where teaching staff and students can interact using the affordances of Facebook without staff having to explicitly ‘friend’ students (something many staff are reluctant to do for a range of reasons).
References
Greenhow, C., & Robelia, B. (2009). Informal learning and identity formation in online social networks. Learning, Media and Technology, 34(2), 119 - 140.
Krause, K., & Coates, H. (2008). Students’ engagement in first‐year university. Assessment & Evaluation in Higher Education, 33(5), 493-505. doi:10.1080/02602930701698892
Leaver, T. (2012). Twittering informal learning and student engagement in first-year units. In A. Herrington, J. Schrape, & K. Singh (Eds.), Engaging students with learning technologies (pp. 97–110). Perth, Australia: Curtin University. Retrieved from http://espace.library.curtin.edu.au/R?func=dbin-jump-full&local_base=gen01-era02&object_id=187303
At one end, identity fragments can be created even before an individual is born, from Facebook updates, blogs and photos detailing attempts to get pregnant, through to ultrasounds images and the like. Early childhood too, can often be documented online by parents who embrace every recording technology possible, both capturing and often sharing online every smile, every outfit and all those initial milestones of development. While most parents consider some degree of security when posting information about children, many of these digital traces persist and can often be easily (re-)attached to the children in question later in life. This initial digital contextualisation and the power of parents and others to ‘set up’ the initial web presence of individuals before they are active participants online deserves greater attention. Victor Mayer-Schonberger (2009), for example, has proposed that information online, including social information, should come with an expiry date, after which digital identity fragments are automatically erased. While an admirable strategy, implementation of such a proposal in a widespread enough manner to be useful would be very challenging.
At the other end of identity, the question of what happens to our digital selves when we die is also increasingly important. While our corporeal forms are subject to entropy and decay, the same is not necessarily true of online identities. From blog posts and social networking profiles to photographs and more personal files, the need to ‘do something’ with digital identity fragments is increasingly pressing. In some instances the keys to digital identities (our passwords) are being left in wills as part of individuals’ estates, but far more often this question is left unasked until an individual has died. Facebook, for example, had to institute the possibility to allow family members to memorialise or delete the Facebook profiles of deceased loved ones after many people reported Facebook suggesting they ‘reconnected’ with recently deceased relatives and friends.
This paper will outline some initial ways that our ‘ends of identity’ might be conceptualised, including a brief review of current approaches, with the intention of outlining an emerging research project which examines the impact of digital identity creation which is not readily controlled by the individual whose identity is being created or transformed.
References
Helmond, A. (2010). Identity 2.0: Constructing identity with cultural software. www.annehelmond.nl , PDF: http://www.annehelmond.nl/wordpress/wp-content/uploads//2010/01/helmond_identity20_dmiconference.pdf.
Mayer-Schonberger, V. (2009). Delete: The Virtue of Forgetting in the Digital Age . Princeton University Press.
Papacharissi, Z. (Ed.). (2010). A Networked Self: Identity, Community, and Culture on Social Network Sites . Routledge.
But this freedom can also easily be abused by those who use anonymity to troll, abuse or harass others, which is why Facebook has previously been opposed to “anonymity on the internet”.
So in announcing that it will allow users to log in to apps anonymously, is Facebook taking anonymity seriously?