For those of you who have been following my blog or keeping up to date with my digital artefact (DA), you would know that I have chosen to explore the impact and influence of audio within video games on the user’s experience. For this week’s post I will be applying Raessen’s analytical framework which explores the techniques of participation and the types of participation to be considered when analysis work, particularly my digital artefact. “With participation, more will be accomplished”. (Claridge, 2004)
Techniques of Participation
MULTIMEDIALITY
Muiltimediality is the interconnection between both visual and audio functions, varying from text and images to animations or simulations and so on. As my digital artefact is based on both Twitter and Instagram, I am able to represent what is considered multimediality, as my DA is consists of several visual and audio components such as videos and soundtracks, merged to become one cohesive piece. The platforms in which I have chosen to develop my DA on, allow me to make use of multimediality, as they grant me the ability to share both, pictures, text, video and audio without quality loss.
VIRTUALITY
Virtuality is often used to describe an event or entity which houses attributes of something without sharing a true physical form. As my project is exploring the sense of emotion and influential attitude, that audio components evoke within the audience of particular video games, it is considered a virtual experience.
INTERACTIVITY
Interactivity is the term used to describe the notion of a someone or something interacting with another person, object, feature and so on. My DA originally focused solely on user interaction and involvement, while my project has developed since then and requires much less user interaction, it still makes use of interactivity and user engagement. In fact, I still prompt user engagement through use of Twitter and Instagram poll function, users are also able to further engage through use of likes and comments.
CONNECTIVITY
When refereeing to connectivity, I am simply talking about the ability to connect with others through the curation of my DA. By developing my DA, thus curating an online presence for myself, it has allowed me to connect and share with others on a global scale. “Apps, like people, are connectors that boost overall data traffic so all companies can benefit from the “massive value” generated by expanded connectivity.” (Dijck, 2013) Hence through use of Twitter and Instagram, my audience can share their opinions and experiences with my topic with ease.
Types of participation
INTERPRETATION
Interpretation commonly refers to how an audience consumes and experiences your content. For my DA, I have worked at developing a casual yet intriguing environment for my audience to experience and take part in. As my DA shares game related content, it obviously works at targeting an audience with shared interested, therefore, using tags and sharing content that explicitly targets that particular audience.
RECONFIGURATION
Reconfiguration put simply, is the term used to explain that somethings original parts or elements have been rearranged in order to form a different figure, experience and/or combination. Therefore, in the case of my DA, my audience is seeing a reconfiguration of video games, developed without audio or visual components, in order to ensure the integrity and reliance on one another to develop a cohesive storyline for the player.
CONSTRUCTION
When exploring construction throughout my DA, I am refereeing to the development and addition of updated content to my DA. As my DA is a project that is constantly developing and evolving, it is safe to say that it is constantly undergoing some form of construction. This construction, however, has a positive impact on the audience, as they are able to experience new and engaging posts and content to interact with.
Reference List
Claridge, T., 2004. Designing social capital sensitive participation methodologies. Report, Social Capital Research, Brisbane, Australia. https://www.socialcapitalresearch.com/designing-social-capital-sensitive-participation-methodologies/importance-participation/
Van Dijck, J., 2013. The culture of connectivity: A critical history of social media. Oxford University Press. https://books.google.com/books?hl=en&lr=&id=t5RpAgAAQBAJ&oi=fnd&pg=PP1&dq=connectivity+social+media&ots=pn-vSSAqOK&sig=cu5EULhkaVajtIxB_nDqodnJ5xg
WHAT AM I DOING? 