Reflection

• Putnis et al. (1996)

My blogging experiences encapsulates writing theories of:

i) cognitive process 

I make rhetorical choices as I compose my word - on the assumption that wirting is my primary individual act; my language originates the inner reaches of my mind in tandem with pedagogical references. 

ii) social contructionist 

The language I use is not my individual perspective but evolved from the view of my social group. My social knowlegde, which contributed to my writing, derived from my social interactions. My blogging is a social act of writing within a discourse community where I observe culture sensitivity and publication ethics. 

I also write to express myself, to articulate my ideas, to share an experience, to communicate, and to create knowledge. 

• Walsh (2006)

My blog design evidently examines meaning-making of visual-and-text multimodality, reading paths, and mode affordance. 

• Schriver (1997)

To orchestrate and integrate prose-and-graphic combination that meets my audience's reading goals, I construct coherent prose-and-graphic interpretations and generate connections between my words and pictures. I should help readers focus on the visual and verbal content relationship, enable them to build a consistent content story through my designs (creating a reading path). 

• KvL's four resource model's 

I consider four reader roles of interpreter, designer, navigator, and interrogator. By expanding each dimensions to interpret multimodal texts, I engage perceptual and cognitive perspectives, coupled with sociocultural contexts so that my design intentions are understood.

• Bezemer and Kress (2010, p. 184 - 18)

My signs/ meaning materials are made in the available socio-cultural resources; and my representation acts on social factors through diverse cultural and semiotic resources. Designs of my blog also take on semiotic resources available to realize signs and materialize meanings. Through the blogging experience, I realize a conceptual shift from composition to design marks the social shift from the use of a mode to the making of signs-as-texts; assigning of salience in the social context, depending on the elements' significance, makes foregrounding my principle for meaning and for representation.

• Serafini & Frank (2012)

My blog presents a shift from visual image to multimodality.



References

Bezemer, J. and Kress, G.  2008, 'Writing in multimodal texts: a social semiotic account of designs for learning', Written Communication, vol. 25, no. 2, pp. 165 - 195.

Putnis et al. 1996, 'Writing to communicate', Professional Communication: Principles and Applications, Ch. 7, pp. 223 - 263, Prentice Hall , Sydney.

Schriver, K. A. 1997, 'The interplay of words and pictures'', Dynamics in document design: creating texts for readers,  Ch. 6, pp. 361 - 441, Wiley Computer Pub., NY.

Serafini, F. 2012, 'Expanding the four resources model: reading visual and multi-modal texts', Pedagogies: An International Journal, vol. 7, no.2, pp. 150-164.

Walsh, M. 2006, 'The 'textual shift': examining the reading process with print, visual and multimodal texts', Australian Journal of Language and Literacy,  vol. 29, no. 1, pp. 24-37.

Media Issue (D)

Glass Journalism

source: journalism.co.uk

In the journalism prism, Google Glass allows the community to see through the eyes of other people – by capturing elements of people’s lives that would have been impossible otherwise – through the handsfree point of view (POV) shot. On that note, Google Glass has the potential for distribution of story-telling, although destruction to how stories are told is inevitable. This is due to the fact that Google Glass' ability to broadcast will not replace the conventional audio and video broadcast – firstly, Google Glass does not make steady video; secondly, not every story need to be delivered via POV. Yet, with augmented reality (AR), Google Glass enhance real-world environment with digital information – experiences are triggered by what the wearer is looking at. The only concern is the fear of digital journalism replacing the core of journalism. Some are reluctant about mobile devices as a journalism medium; however, more people are convinced with the digital power (Aedy 2014).

Discussions:

• Whether journalists are using it or not, technology like Google Glass still marks a significant change in both the ability to gather stories and the number of journalist
  (i.e. Glass Explorer ) participating in the storytelling process. With that in mind, Google Glass reached out to a thinking leader in the digital journalism’s story-telling field (Glass Journalism 2014).                                                                source: flickr.com
  
  
• Working in tandem, AR and Google Glass utilization opens new ways for journalists to tell stories using. While printed media becomes what it seems like belongs to a dinosaur age, digital journalism will get ahead of a budding technology trend this way.
  
  
• Avoid being a “glasshole”. Google Glass marks the evolution of journalism etiquette, social stigma, and privacy. Journalists should consider using Glass in culturally acceptable places and fashions, at the same time, be cognizant of where use of Glass will be deemed obtrusive, privacy-invading, and social intruding (i.e. many patrons who do not wear Glass are uncomfortable about being in the same place as those that do) (Hill 2013; Reid 2014; Steward 2013).
  
  
• The Google Glass platform is still new - no one has defined what journalism looks like on there – yet it is such an opportunity for the journalism industry to hijacks technology and to be proactive about shaping what journalism profession and skill sets will look like in the future (Wagner 2014).
  
  
• I believe that Glass emerges as a nexus of digital and real experience. I am jealous of how journalists have the privilege to pioneer such invention to determin how digital and real spaces are able to intersect, cohesively and respectfully, to deliver to news consumer, an extraordinary first-person perspective of the world.

References

Aedy, R. 2014, 'Doing Journalism with Google Glass', Radio National, 6 March, abc.net.au, Australia, retrieved on 6 June 2014, <http://www.abc.net.au/radionational/programs/mediareport/doing-journalism-with-google-glass/5302992>.

Glass Journalism 2014, 'ScribbleLive profile piece on Glass Journalism + Me', Glass Journalism, glassjournalism.tumblr.com, retreived on 6 June 2014. 

Hill, S. 2013, 'How Google Glass will change the future of broadcast journalism', Media Shift, 18 July, Public Broadcasting Service (PBS), retrieved on 6 June 2014, <http://www.pbs.org/mediashift/2013/07/is-google-glass-the-future-of-journalism/>. 

Reid, A. 2014, 'Could Google Glass change the face of journalism?', Journalism.co.uk, 15 January, retrieved on 6 June 2014, <http://www.journalism.co.uk/news/could-google-glass-change-the-face-of-journalism-/s2/a555596/>.

Steward, C. 2013, 'Intro to Glass: Trying not to be a Glasshole', Glass Journalism, glassjournalism.com, 27 August, retrieved on 6 June 2014. 

Wagner, K. 2014, 'USC is offering a Google Glass course for journalism', Mashable.com, 25 March, retrieved on 6 June 2014, <http://mashable.com/2014/03/25/usc-google-glass-journalism/>.

Media Issue (C)

Hey Gorgeous! Are You Insulted?

source: policymic.com

Feminism sells! Women rights are now toyed as marketing ploys with mere concerns over discrimination and reproductive rights. Berating and objectifying ladies have passed its point where adverts are debating on feminism’s media participation with surprising enthusiasm.

I believe media needs a more holistic and integrative approach to acknowledge the diversity of women. Media coverage tends to un-gender and dehumanize Woman bodies, which are often reduced to essentialist binaries, particularly vis–à–vis the media. Silva & Mendes (2009, p. 244) posit that media establish a proverbial 'clash of civilization' with multicultural ignorance. Such representations are harmful to women who are positioned with resistance and empowerment. 

Contemporary women media activism is vulnerable to feminism-opposing methodology deeply rooted on criticisms of social sciences (Smith 1987; Vault 1996). Feminist media activism serve the purpose of not only the increase in women appearance in the media, but rather the significance and meaning delivered to women's media engagement. Sociopolitical transformation is deemed essential to manifest and to respect women's rights and their communication freedom (MiniÊ 2007, p. 285). 

Van Zoonen (1994) opines two feminist media framework - i) liberal feminist criticism towards media activism addresses stereotype and gender socialization issues; ii) radical feminist theory and activism examine pornography issues. In tandem, liberal and radical feminist approaches to communication construct socialist feminism - which accompanies women's media activism. The globalization, standardization, and networking of feminism marks the most significant change in media participation (MiniÊ 2007, p. 288). 

It is time to encourage balanced and diverse representation of women in the media; promoting awareness of gender discrimination and equality, as well as repressing sexist media contents and stereotypical representation of women. 

References

MiniÊ, D. 2007, 'Feminist media theory and activism: different worlds or possible cooperations', 20 Pieces of Encouragement for Awakening and Change, pp. 282 - 308.

Vault, D. M. 1996, 'Talking back to Sociology: Distinctive Contributions of Feminist Methodology', Annual Review of Sociology, vol. 22.

Silva, K. and Mendes, K. 2009, 'Commentary and criticism', Feminist Media Studies, Routledge, Taylor & Francis, vol. 9, no. 2, pp. 243 - 262.

Smith, E. D. 1987, 'Women’s Perspective as a Radical Critique of Sociology', Feminism and
Methodology, Bloomington, Indiana University Press.

Zoonen, V. L. 1994, Feminist Media Studies, Routledge, London.

Media Issue (B)

6 Seconds to Tell a Story

 source: youtube.com

Six seconds seems short but  Vine made it an eternity. with more than 40 million Viners uploading vlogs featuring anything under the sun, be it crashing waves or acting silly or showing off skills, to loops of teeth-brushing by Harry Styles, six seconds of Vine extends to infinity - and it was only created last year (Rushe 2013). 

I think Vine gives us a new perspective to look at the word - the ideas, the creativity, the vibes, the energy - and most of all - framing them within time limits.  A renaissance for stop-motion animators, an actor-and-comedian collaboration (as featuring guests in each other's vines), and astonishment-making of complex pieces from the simplest materials, Vine is like a TV network creation. It captures language and visual informality as a factor of social proximity. In solidarity and intimacy with the Viners, especially when one can see Viners and their reaction in the 6-second vlog (visual), such new social ties effectively puts one in the temporal despite geographical non-co-presence. Also particularly characterized by deep trends of social, cultural, political, economic, communicational, and technological advancements, when Obama even 'Vines', such sociopolitical configuration triggers new power distribution via a new media ecosystem (Kress 1997, p. 55).        source: verticalresponse.com

source: youtube.com

Technological innovation drives social media ass a new communication form - hence an emerging social control. Vine incorporates integration of various modes both in production/ making and in consumption/ viewing, and brings out the semiotic potentials of each mode - sound, visual, and speech - orchestrated with the Viner's intention - with minimum multi-modal competence or mode operation knowledge required (Kress 1997). 

Vlog in 6 seconds, sweet and short, encompaes speech for presenting, and sound (i.e. background noise/ music) , as the film content, the bodily motion are significant mode of representation and communication. Amongst the plethora of user-generated content on mobile/ web, many creative media works by contributed by independent content creators, pushing their work to global audiences and actively extending their reach. Vine constructs online media identity (Guy & Klein, 2014).   

Guardian's deputy editor, Katherine, concurs, digital has overnight wrecked hierarchies of the all-seeing all-knowing journalists from on high for readers' take-in, passively, creating a leveled, instantaneous, spontaneous globe (Wilcox 2014). Ironically, Vine and other new media ecosystem allows readers to know more about certain subjects than the journalists -readers might even be better placed to uncover a story.

source: theguardian.com

References

Guy, A. and Klein, E. 2014, 'Constructed Identity and Social Machines: A Case Study in Creative Media Production', International World Wide Web Conference 2014, 7-11 April, Seoul, Korea. 

Kress, G. 1997, 'Visual and verbal modes of representation in electronically mediated communication: the potential of new forms of text', in Page to screen: taking litreacy into the electornic era, Allen & Unwin, St. Leonards, N.S.W., Ch. 3, pp. 53 - 79. 

Rushe, D. 2013, 'Vine: in the future everyone can be famous for six seconds', The Guardian, 3 November, viewed on 6 June 2014, <http://www.theguardian.com/technology/2013/nov/03/vine-six-seconds-video-app-mobile-phone>.

Wilcox, J. 2014, Responsible Reporting: Field Guide for Blogger, Journalists, and Other Online News Gatherers, Bunny Bows Press, San Diego.

Media Issue (A)

Brands Swear Back

 Source: jdyp.com

The uppercase f-bomb all over FCUK products, shops, and billboards marks the emergence of in-your-face brand expletives to sell (Boyle 2014). 


I understand the effort of edgy brands dropping the odd cuss word to target younger audiences. Arguably a creative initiative, yet, if one cares about marketing culture, swearing brands are hardly edifying or constructive. Behind the ingenuity, risque names are neither making statements nor creating ideas, but simply verbal-filling. Not many see the word ‘holy crap’ in a cereal box and think “Holy crap! This really speaks to me. I should eat the cereal!”

source: aladyinlondon.com 

To begin with, swearing does not even register with the target audience – but with the wrong crowd – a subset of young customers who do not really give a ‘fcuk’ – who might not buy anyways. If brand ideas are well-presented, expletives is irrelevant but narrowing the brand appeal and increasing discomfort of brand wearers or people around them (Andrew 2011; Thompson 2014).

       

Advertising Ethics

Such dispute, depressingly a common advertising stratagem, often use sexual suggestiveness and symbolism. This makes brand communication intriguing and compelling, without the risk of authority censure by positioning risque communication within the covert ad dimension (Cook 2001, p. 51). Brand owners effortlessly antagonizes groups outside their target market for free editorial publicity and stronger brand identity. 

Advertising Standards Authority (ASA)'s ruling maxim thrives on 'decency' and stresses upon having brand expletives vetted before exposure. In earlier periods, obscene words are not permitted in public discourse. Culture attitudes are still in denial to vulgar language, observing it as 'obnoxious and offensive'. Reaping sales, nonetheless, is a clever piece of publicizing, a striking marketing device, a public standard erosion of speech and behaviour, and a mockery of media regulatory (Manchanda et al. 2003, p. 271).
source: foodwhine.com

Brand marketing corporations were once promoted and legitimized their mass consumption a socially responsible and paternalistic light (e.g. corporate social responsibility). Today, they do not even pretend that they make positive social contributions rather than lead audiences astray. It seems that advertising regulation are inclining towards commercial values irrespective of what is good (Hackley 2005). The underlying ethics barely apply in the context of social policy. 


References

Andrew 2011, 'Swearing in your copy? Fuck off.', Unmemorable Title: An SEO and Copywriting Blog, unmemorabletitle.co.uk, viewed on 5 June 2014, <http://www.unmemorabletitle.co.uk/swearing-in-your-copy-fuck-off/>.

Boyle, D. 2014, 'For FCUK's sake, brands are swearing more than ever', The Guardian, 28 April, viewed on 5 June 2014, <http://www.theguardian.com/commentisfree/2014/apr/28/brands-swearing-marketing-social-media-advertisers>.

Cook, G. 2001, The Discourse of Advertising, Routledge, London.

Hackley, C. 2005, Advertising and Promotinon: Communication Brands, Sage, CA.

Manchanda, R. V., Dahl, D. W., and Frankenberger, K. D., 2003, 'Does it pay to shock? Reactions to shocking and nonshocking advertising content among university students', Journal of Advertising Research, vol. 43, no. 3, pp. 268 - 279. 

Thompson, A. 2014, 'Effective copywriting to swear by', Creative Copywriting, BrandNewCopy.com, viewed on 5 June 2014, <http://brandnewcopy.com/effective-copywriting-to-swear-by/>.

Blogging & Social Media Isues (e)

You don't have to be a genius to make good slides.

Image credit: lifehacker.com

3 golden principles for a good design:

1. Salience

The elements (visuals and syntagms interlinking to elements and to viewer) are presented for viewers' attention to various facets of fore- and background, tone and color contrasts, sharpness differentiation, stylistic consistency etc. Ideally, the most salient, eye-catching element should form the hugest, simplest, and sharpest focus with the greatest amount of light received. 

2. Framing

Framing devices, with or without them, disconnects or connects elements in a slide, to signify whether they belong or separate in a spatial composition. 

3. Information Value

The placement of elements in a presentation slide, and syntagms that link them to one another and to the viewer, hence, endows each participant with relevant, specific information values. These values are attached to various zones of a slide: left, right, top, bottom, center, and margin.

(Kress 2007, p. 177; Norman 1999)


What makes a bad slide?

Too complex, bullets over-loadness, less focused, poor quality images, distracting background. 

Image credit: iasted.org; lifehacker.com

Some Seth Godin's five rules addresses how to avoid really bad presentation slide designs. 

1. No more than six words on a slide. Be succinct to impress.
2. No cheesy images. Use professional stock photo images.
3. No dissolves, spins or other transitions.                             (Godin 2007)            
   Image credit: squidoo.com

References

Godin, S. 2007, 'Really Bad Powerpoint', Seth's Blog, viewed 25th April 2014, <http://sethgodin.typepad.com/seths_blog/2007/01/really_bad_powe.html>.

Kress, G. & van Leeuwen, T. 2006, Reading images: the grammar of visual design, 2nd ed., Routledge, NY.

Norman, D. A. 1997, 'Affordance, conventions, and design', Magazine Interactions, vol. 6, no. 3, May/ June, pp. 38-43.

Blogging & Social Media Issues (d)

Waze: More than Colored Lines on a Map

Image credit:theunlockr.com

Conventionally, our geographic knowledge is drawn from linguistic and analytic tool from cave drawings, landmarks, verbally conveyed directions (our worst nightmare), and hand-drawn or digitally printed maps, while seeking interpretations of the evolution prism of such dismal geographic science. 

Google Map (LINK) took a leap from a print-based map culture to an online communicative location competence. Utilising social media for transportation and geographic input, however, is sporadically observed by Waze. 

image credit: iconarchive.com

Waze drew upon the accumulation of scare resources and turned into a state-of-the-art dynamic transportation information publishing built on abundance, not scarcity. Waze, a ratched-up social media hybrid of digital convergence, personal computing, and a 'Wazer Community' network, enriches city dynamics and the mobile behavioral dependency of the urban inhabitants. 

Participatory sensor network (PSN), derived from Waze, not only sense traffic conditions, but also reason traffic problems, improve navigation algorithms in social media by:

(1) providing real-time traffic updates, and 

(2) identifying valuable information undetectable with traditional sensors 

(e.g. car accidents, potholes, speed traps, and hidden police, and roadblocks) 

(Qiao 2011; Silva 2013).                                                               
Image credit: waze.com

Hence, Waze alter the new media ecosystem by emerging as a flourishing non-market sector of knowledge, information, and mobile cultural production, based on a network environment, and applied to any imaginable things (Naughton 2006). Waze's output are not exclusive assets but a multiplying robust ethic of open map sharing, open for all Wazers to build on, extend, and customize, particularly for modern readers who are navigators, active meaning seekers, and interpreters (Serafini 2012).

Waze steer a new era for the mobile media ecosystem to a more diverse and complex one due to the amount of multi-modal content builders, the interaction density between Waze and Wazers, the roles of Wazers the communication speed of traffic reports, and the ubiquitous networking development pace. 

About Waze

References

Naughton, J. 2006, ‘Blogging and the emerging media ecosystem’, Reuters  Institute for the study of Journalism, viewed 25 April 2014, <http://reuteursinstitute.politics.ox.ac.uk/about/discussion/blogging.html>.

Qiao, F., Zhu, Q., and Yu, L. 2011, Social Media Applications to Publish Dynamic Transportation Information on Campus, Proceedings of 11th International Conference of Chinese Transporation Professionals (ICCTP), pp. 4318-4329.

Serafini, F. 2012, 'Expanding the four resources model: reading visual and multi-modal texts', Pedagogies: An International Journal, no. 7, vol. 2, pp. 150-164.

Silva, T. H., de Melo, P. O. V., Viana, A. C., Almeida, J. M., Salles, J., & Loureiro, A. A. 2013, 'Traffic Condition Is More Than Colored Lines on a Map: Characterization of Waze Alerts', In Social Informatics, pp. 309-318, Springer International Publishing.