Alone Together - Part One

Alone Together is certainly a sharp contrast from what he have been reading and discussing in the previous classes.  Turkle begins the text by presenting the significant movement that technology has made in people’s lives.  It is very interesting to me that she prefaces the points she is about to make with her own skepticism of the emotional role that robots can play.  As she goes to discuss some of the interviews, I had to read several times just to make sure I was actually reading them correctly.  Some of them that stood out:

Anne’s willingness to substitute a well-made, agreeable robot for her actual boyfriend (page 9).

A thirty year old man saying, “I’d rather talk to a robot.  Friends can be exhausting.  The robot will always be there for me.  And whenever I’m done, I can walk away (page 10).”

“Inventor Unveils $7000 Talking Sex Robot (page 25).”

When I first read through these quotes I just could not see where or how society could ever possibly evolve into this.  To me, it would be more depressing to have a robot as a companion than an actual human.  The robot would serve as a reminder that I did not have real friends and that I was indeed alone.  I do understand the “somebody’s home” feeling that Turkle describes in the introduction, and I have that feeling quite often just because of the amount of technology around me.  Nearly every store, restaurant, or place of service has a camera system set up to monitor its environment, so I think it is somewhat normal to feel like you are not alone. 

As I read further into the book, I began to understand how that substitution could eventually happen.  Social media platforms such as Facebook and MySpace have laid a foundation for people to slightly alter the way that others perceive them, and possibly the way they see themselves.  I think that gaming, forums, and other online communities can help people explore themselves and in a way become someone that they otherwise could not.  This leads to the opening of one’s imagination, and I can see how that could progress into enjoying a companion regardless of its form.  It was really interesting to see how receptive people actually are viewing a robot as a companion and how many people that were asked would actually prefer it.

I like that Turkle then presented ideas supporting why this may be the case.  People view the robots as companions without the downsides that human interaction has.  They do not have to worry about being hurt or the relationship ending, but are able to experience the beneficial emotions that a companion can provide such as attention and love.  I was on board with this idea until the two are compared directly in the text.  Later in the chapter, the My Real Baby experiment will go down as one of the more uncomfortable things that I can remember reading.  Turkle painted a very vivid picture and did a tremendous job explaining the emotions that were in the room during the interaction between Edna and Amy.  The fact that a robot was able to overpower an actual child for an adult’s care and attention completely floored me.  I know that people become increasingly lonely as they become older, and maybe the My Real Baby gave Edna a sense of ownership that she could not have with Amy since it was not her actual child.  No one had ownership of the doll, and this allowed Edna to take it upon herself to care for it.  As Turkle continued describing the situation, I could almost feel Edna snap out of it and return her attention back to the “real world.” 

Although I enjoyed reading this, I had a slight uncomfortable feeling the entire time that I don’t think I have ever had reading a book.  I kept inserting people that I know into the stories and experiments that Turkle conducted, and I had a very clear mental picture of each situation.  I also think it is significant that she involved every age group and really covered every type of person that could be in different emotional places in their lives.  If a particular age was not targeted in an experiment or study, she still had very honest interviews from them.  She points out a lot of potentially negative results from her research and at first I got the feeling that she thought we as a society are moving in the wrong direction.  But I noticed that she stopped every study as someone was beginning to become too attached or too involved.  She would stop them and try to understand the emotions that were taking place so that we can understand how a robot can bring about such intense emotion.  After noticing this toward the end of the section, I think she appreciates technology and the contributions it can make in our lives, but it has evolved so quickly that we need to be able to evaluate it to make sure we are applying it in the right ways.

Convergence Culture - Conclusion

What hasn't he invented?

In the conclusion of Convergence Culture, Jenkins gives several different scenarios of how we may use media in the future.  He begins with discussing Current, Al Gore’s attempt at a less controlled news network.  I don’t think I have ever heard Al Gore make a single speech without unrealistically idealizing something; usually something he “created,”  but I like the idea of Current and the potential that a network like that could have.  However, I don’t think the pendulum has swung far enough in the direction of the consumer for something like it to compete with the deep pockets of the major networks.  I do think it can and eventually will happen, and I enjoyed reading this chapter because of the examples and evidence that support that.  It is easy to think that the direction you are going is the best path, but some of the arguments in this chapter present very realistic apprehensions about the convergence of media.

The quote, “Future TV may be unrecognizable from today, defined not just by linear TV channels, packaged and scheduled by television executives, but instead will resemble more of a kaleidoscope, thousands of streams of content, some indistinguishable as actual channels (Highfield 2003)” was one of the most powerful in the entire book.  As soon as I read this, I could immediately see the Netflix ad with the different DVD covers rotating in a circle on the screen.  A kaleidoscope is the perfect representation to associate with this format.  We can already see this in Netflix, Hulu, and Blockbuster online.  This idea also supports the comments made by Betsy Frank.  She points out that the new generation of viewers has grown up with some form of immediate satisfaction regarding media, suggesting the movement of media into more of a kaleidoscope format where shows can be viewed at their consumer’s discretion.

I liked that Jenkins gave an example of how “democratized television (Jenkins 262)” could take a completely different route in reaching its consumers.  The merging of media platforms has made it easier to access shows in different formats, but it also gives producers a different financial avenue.  A producer has less incentive to release a show on its network if it is already difficult to cover its production costs.  This may be far off, but I could certainly see cable and satellite companies becoming a non-factor, and networks charging individually for their content.  This, paired with more incentive to produce shows in a DVD series in an attempt to cover costs, could lead to media being more expensive than it is now.  This potential scenario reminds me of how boxing has evolved.  Boxing used to be regulated by a few governing bodies that did the promoting of a fight and distributed revenue somewhat equally.  As more sponsors, promoters, and channels became involved, the governing bodies have no control over anything anymore.  Championship fights are now upwards of $60 and the sport is on the verge of dying.  The convergence of media will never become this extreme, but it is interesting to think about.

My last dominant video game.

The idea of a participation gap could play a very significant role in the development of convergence culture.  As of right now, there is no one device that effectively reaches across all platforms.  This can force a consumer to choose between different forms of media or reject them all together if products are financially unavailable to them.  Culture can also play a huge role in a consumer’s willingness to engage with the new technology even if it is available to them.  Up until the age of 16, I had no TV in my room and was not allowed to watch TV during the week.  Growing up, the majority of my year consisted of being in class and then going to football, basketball, baseball, or track practice.  Now, I am apprehensive to try any new technology because I feel like I am way behind everyone else.  In college, I didn’t even want to play Guitar Hero at a party because I had never played and knew that I would embarrass myself.  

Bud Light = No participation gap.

I thought Jenkins did a great job bringing together convergence culture and the potential it has in the conclusion of this text.  He discusses several different arguments and provides examples of how media could eventually arrive at each destination.  He points out that the converging of media is still extremely new and that many rules and guidelines have not yet been established, which puts a great deal of power in the hands of consumers.  Although I did not relate to a great deal of the text personally (Survivor, American Idol, anything past a blackberry), I learned a great deal about how different technologies are moving media into an entirely new direction.

Convergence Culture - Chapters Four and Five

To date, I thought chapter four was the most entertaining chapter.  While I did not agree with some of it, the relationship between Lucasfilm and its fans is fascinating.  Whereas the book has discussed the blurred lines between producers and consumers of particular franchises, Star Wars seems to completely erase them.  The previous chapters have discussed the fan following of certain films and shows that I did not find particularly interesting because I did not see the reward in putting that much effort into a spoiler site only to gain social significance in an online community.  Creating different variations of a film and gaining actual notoriety for them is much more appealing to me.

As Jenkins begins to discuss the relationship between the franchise and the fans, it was very interesting to see how the franchise embraced the fans as part of a culture.  Star Wars seemed to be similar to The Matrix in using several platforms to build a brand, but to an even bigger extent.  Creating memorabilia, action figures, costumes, and other merchandise is the best way I can think of to extend a brand.  I remember having action figures and light sabers growing up.  I even dressed up as Boba Fett for Halloween which was by far the best costume that I've ever had (aside from the Burger King last year).

I disagree with Jenkins in his comparison to Napster regarding the attempted regulation of the franchise.  Media industries were frantic in trying to regulate Napster because their actual product was being circulated without them receiving compensation.  Lucasfilm's regulation of their franchise is definitely financially based, but they are not attempting to gain back control of the actual product that they created.  I can see why they would try to regulate the reproduction of their brand in different areas.  Creating a separate storyline with existing characters could be taken and translated into another film outside of the franchise.  A Storyline can be very universal, and changing the name and appearance of a few characters could create an entirely different brand that Lucasfilm would never profit from.  As a film maker, I am sure George Lucas is very proud of what he creates and does not like to see the pendulum swing too far away from his actual product.  Creating pornography or disgracing the brand in a parody is a legitimate reason to regulate it.

Jenkins introduces some very far-fetched arguments in chapter five, but he also explains it very well.  "None of us really knows how to live in this era of media convergence, collective intelligence, and participatory culture (p.176)."  This is the one sentence that I kept in mind throughout the reading.  Many of the secondary sources that I referenced blasted Jenkins for the arguments he presented through this chapter.  He makes a great point that someone does not possess literacy.  because they can consume something.  They must also be able to express it.  Personally, I have never read or seen anything related to Harry Potter, but I do think it is essential for younger people to read things they are actually interested in to develop a certain skill set that they never will reading textbooks.

I think the site that Heather Lawver launched is a great blend between gaining educational experience and actually enjoying it.  The example given of her written statement is probably better than anything I have ever written, so it wouldn't make sense for me to critique her.  Students that are using this site are developing the same skills that many adults do not have because this convergence of ideas did not exist.  As with anything that has the potential to be successful, it can be taken too far.  I am not sure what the exact ratio of "leisure" writing and academic writing should be, but Jenkins presents cases from both extremes.

He also becomes increasingly liberal through the chapter.  I do appreciate his case for teens to have their freedom of expression and that too often schools suppress this.  However, I think there are topics and discussions that occur between adults that they should not be exposed to, even if they choose to do so.  Although I have not been to one of these sites, I can imagine that discussions could turn explicit or sexual quickly and minors should not have the ability to interact in that conversation.  I have no idea how to regulate that, but I also do not think people should be in support of it.  Jenkins also does a great job of showing the other side.  A reverend referencing Columbine in relation to Harry Potter completely kills and credibility that may come from a conservative point of view.

This chapter seemed to bring in more of a moral debate than one involving the convergence of culture.  I appreciate and understand Jenkins' point of view as well as the views of people he discussed.  Interacting with "beta readers" is a great way for a student to sharpen their writing skills in a more comfortable environment and can also receive feedback from more than just one source.  However, writing academically and for a purpose that we do not specifically choose if more realistic and closer to what your career responsibilities will actually be.

Convergence Culture - Chapters Two and Three

Jenkins begins the second chapter using American Idol as an example of the evolving television lanscape.  I do not personally watch American Idol, but I have been exposed to it enough to know that the following is still tremendous and has had a huge influence on many different commercial businesses.  The success of American Idol was obviously beneficial for FOX, but directly for AT&T and Coca-Cola as well.  If not for American Idol and Apple, I would imagine that AT&T would be a subsidiary of Verizon right now.

I found it very interesting to look at the numbers that American Idol has helped to generate.  The increase in text messaging, the decline of major network viewers in the summer, and the sheer amount of people that are devoted to this show are all very impressive.  It is also very impressive that FOX was able to produce these numbers with a show that is not that expensive to create.  One area I did not agree with Jenkins in was the target audience group he mentions.  American Idol goes much broader than the 12-24 age groups, and I believe the increase in text messaging is probably due to the older viewers that were not that familiar with cell phones to begin with.

The fact that this book was written when TiVo was in its beginner stages is fascinating because the prediction for this technology seems to be spot on.  TiVo and DVR may have put many companies and networks into a state of panic on how to recover the revenue that advertisements generate, but it has also forced them to be more creative.  I like the interactive type of advertising and making a consumer of your product feel connected to you.  If the 80/20 rule holds true, then you should reward that 20 percent of your client base for keeping you in business.  When I began my first position in management, my employers stressed the importance of the 80/20 rule and building a loyal customer base.  I was also very limited by them in regards to our advertising budget.  This forced the grassroots type marketing, such as creating a Facebook page and advertising on foursquare.  Having people comment on our wall or fighting to be the "mayor" of our restaurant on foursquare helped generate more interest than any single marketing campaign that we ever did.

The middle sections of this text almost seem to be a melting pot of the different types of viewers and the intentions of the brands that are after them.  The studies conducted on the different types of viewers were done to determine how the "inspirational consumer" could better reach its target audience.  Some of these parts were self-explanatory.  Of course the loyal viewer will pay closer attention to the show, including the advertisements.  They will also be more influential than a casual viewer because they have more interest in the show and its outcome.  I actually respect companies like Coca-Cola for altering their approach as television itself changes.  By reaching a consumer emotionally, you are using your actual product as a springboard into other forms of revenue such as social websites and future variations of your flagship beverage.

Aside from Paul Walker, I believe Keanu Reeves to be the worst actor of all time.  However, his robotic like speech and awkward reactions to everything were perfect for The Matrix, which is why I liked the films so much.  I didn't ever get into any of the secondary information.  I read the summaries right before the next film would come out, but I do like how the franchise as a whole capitalized on every type of medium that they could.  It did indeed create a unique following.  People critical of the film for the actual content are not appreciating it for what it is.  It is a franchise, and it demonstrates collaborative authorship, world creating, synergistic storytelling, and collective intelligence. 

I have not seen Blade Runner, but the concept of the "origami unicorn" is the same concept that Survivor seemed to use to generate the massive interest outside of the show.  Throwing a curve-ball into a film can generate new interest, as well as rejuvenate people that missed it the first time.  Additive comprehension and concepts like Dawson's Desktop are very interesting to me because one form of media can spiderweb into many different forms.  This opens up opportunities for businesses to generate revenue as well.  Just like AT&T and Coca-Cola integrating into American Idol, websites catering to a show or movie create an interactive environment that companies can use as an advertising platform.  I enjoyed reading both chapters because of the adaptive nature of media.  When one platform changes such as the way television is viewed, it causes a domino effect and other companies must also adapt to the change.