�ݺ�ߣshows by User: MediaOracle

�ݺ�ߣshows by User: MediaOracle / http://www.slideshare.net/images/logo.gif �ݺ�ߣshows by User: MediaOracle / Sun, 26 Mar 2017 15:44:03 GMT �ݺ�ߣShare feed for �ݺ�ߣshows by User: MediaOracle Gendering Hatsune Miku: Networked Gender and the Co-Construction of Identity for Vocaloids /slideshow/gendering-hatsune-miku-networked-gender-and-the-coconstruction-of-identity-for-vocaloids/73657467 hatsunemikupresentationabridged-170326154403
This presentation was given at MPCA 2016, OSCLG 2016, and WGS 2017. The presentation concerns how Hatsune Miku's gender identity involves symbolic interactionism, social constructivism, and thus a networked gender. The conclusion focuses on the implications for this co-constructed networked gender for how people make sense of reality.]]>
This presentation was given at MPCA 2016, OSCLG 2016, and WGS 2017. The presentation concerns how Hatsune Miku's gender identity involves symbolic interactionism, social constructivism, and thus a networked gender. The conclusion focuses on the implications for this co-constructed networked gender for how people make sense of reality.]]> Sun, 26 Mar 2017 15:44:03 GMT /slideshow/gendering-hatsune-miku-networked-gender-and-the-coconstruction-of-identity-for-vocaloids/73657467 MediaOracle@slideshare.net(MediaOracle) Gendering Hatsune Miku: Networked Gender and the Co-Construction of Identity for Vocaloids MediaOracle This presentation was given at MPCA 2016, OSCLG 2016, and WGS 2017. The presentation concerns how Hatsune Miku's gender identity involves symbolic interactionism, social constructivism, and thus a networked gender. The conclusion focuses on the implications for this co-constructed networked gender for how people make sense of reality. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/hatsunemikupresentationabridged-170326154403-thumbnail.jpg?width=120&height=120&fit=bounds" /> This presentation was given at MPCA 2016, OSCLG 2016, and WGS 2017. The presentation concerns how Hatsune Miku's gender identity involves symbolic interactionism, social constructivism, and thus a networked gender. The conclusion focuses on the implications for this co-constructed networked gender for how people make sense of reality.

Gendering Hatsune Miku: Networked Gender and the Co-Construction of Identity for Vocaloids from Dominican University

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0 Creativity, Connectivity and Community in Virtual World Television /slideshow/vwtv-producers-cccthemes/23251943 vwtvproducerscccthemes-130620131048-phpapp01
A refinement of the 2012 MPCA presentation, this is the 2013 CSCA presentation.]]>
A refinement of the 2012 MPCA presentation, this is the 2013 CSCA presentation.]]> Thu, 20 Jun 2013 13:10:48 GMT /slideshow/vwtv-producers-cccthemes/23251943 MediaOracle@slideshare.net(MediaOracle) Creativity, Connectivity and Community in Virtual World Television MediaOracle A refinement of the 2012 MPCA presentation, this is the 2013 CSCA presentation. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/vwtvproducerscccthemes-130620131048-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> A refinement of the 2012 MPCA presentation, this is the 2013 CSCA presentation.

Creativity, Connectivity and Community in Virtual World Television from Dominican University

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0 The Positioning of Pooky /slideshow/the-positioning-of-pooky/18421876 thepositioningofpooky-130408142440-phpapp02
The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies.]]>
The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies.]]> Mon, 08 Apr 2013 14:24:40 GMT /slideshow/the-positioning-of-pooky/18421876 MediaOracle@slideshare.net(MediaOracle) The Positioning of Pooky MediaOracle The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/thepositioningofpooky-130408142440-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies.

The Positioning of Pooky from Dominican University

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0 Answering the Whats, Hows, and Whys of Film Spectatorship /slideshow/scms13-presentation-022513/17697155 scms13presentation022513-130325214357-phpapp01
From the 2013 SCMS conference: I am here today to offer up some preliminary thoughts about approaching the study of how spectators engage with films. This presentation comes from an interest we have in trying to understand how spectators make sense of films and what leads to differences and similarities in the reception of the same film. In today’s presentation, I will address the cognitive and affective theoretical approaches to film spectatorship and reception that informed our approach, as well as the apparent lack of studying the actual reception processes. I will then outline the method that was designed to measure the moment-by-moment or minutia reception process, as well as discuss a pilot project to employ this method, and I will conclude with our thoughts for applications of this method.]]>
From the 2013 SCMS conference: I am here today to offer up some preliminary thoughts about approaching the study of how spectators engage with films. This presentation comes from an interest we have in trying to understand how spectators make sense of films and what leads to differences and similarities in the reception of the same film. In today’s presentation, I will address the cognitive and affective theoretical approaches to film spectatorship and reception that informed our approach, as well as the apparent lack of studying the actual reception processes. I will then outline the method that was designed to measure the moment-by-moment or minutia reception process, as well as discuss a pilot project to employ this method, and I will conclude with our thoughts for applications of this method.]]> Mon, 25 Mar 2013 21:43:57 GMT /slideshow/scms13-presentation-022513/17697155 MediaOracle@slideshare.net(MediaOracle) Answering the Whats, Hows, and Whys of Film Spectatorship MediaOracle From the 2013 SCMS conference: I am here today to offer up some preliminary thoughts about approaching the study of how spectators engage with films. This presentation comes from an interest we have in trying to understand how spectators make sense of films and what leads to differences and similarities in the reception of the same film. In today’s presentation, I will address the cognitive and affective theoretical approaches to film spectatorship and reception that informed our approach, as well as the apparent lack of studying the actual reception processes. I will then outline the method that was designed to measure the moment-by-moment or minutia reception process, as well as discuss a pilot project to employ this method, and I will conclude with our thoughts for applications of this method. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/scms13presentation022513-130325214357-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> From the 2013 SCMS conference: I am here today to offer up some preliminary thoughts about approaching the study of how spectators engage with films. This presentation comes from an interest we have in trying to understand how spectators make sense of films and what leads to differences and similarities in the reception of the same film. In today’s presentation, I will address the cognitive and affective theoretical approaches to film spectatorship and reception that informed our approach, as well as the apparent lack of studying the actual reception processes. I will then outline the method that was designed to measure the moment-by-moment or minutia reception process, as well as discuss a pilot project to employ this method, and I will conclude with our thoughts for applications of this method.

Answering the Whats, Hows, and Whys of Film Spectatorship from Dominican University

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0 Virtual World Television in Second Life /slideshow/virtual-wotld-television/14702638 mpcavwtv-121012110006-phpapp01
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]]> Fri, 12 Oct 2012 11:00:05 GMT /slideshow/virtual-wotld-television/14702638 MediaOracle@slideshare.net(MediaOracle) Virtual World Television in Second Life MediaOracle <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/mpcavwtv-121012110006-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" />

Virtual World Television in Second Life from Dominican University

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0 Men and their engagements with stereotypically feminine media /slideshow/men-and-their-engagements-with-stereotypically-feminine-media/13367535 menandtheirengagementswithstereotypicallyfemininemedia-120618092930-phpapp02
A more detailed analysis and discussion of a specific subset of interviews from my dissertation: men who engaged with media meant for women, and what led them to do so.]]>
A more detailed analysis and discussion of a specific subset of interviews from my dissertation: men who engaged with media meant for women, and what led them to do so.]]> Mon, 18 Jun 2012 09:29:28 GMT /slideshow/men-and-their-engagements-with-stereotypically-feminine-media/13367535 MediaOracle@slideshare.net(MediaOracle) Men and their engagements with stereotypically feminine media MediaOracle A more detailed analysis and discussion of a specific subset of interviews from my dissertation: men who engaged with media meant for women, and what led them to do so. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/menandtheirengagementswithstereotypicallyfemininemedia-120618092930-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> A more detailed analysis and discussion of a specific subset of interviews from my dissertation: men who engaged with media meant for women, and what led them to do so.

Men and their engagements with stereotypically feminine media from Dominican University

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0 Once upon a time, Ms. Player got addicted...and survived to tell the tale /slideshow/once-upon-a-time-ms-player-got-addictedand-survived-to-tell-the-tale/10950426 onceuponatimemsplayergotaddicted-120110190514-phpapp01
This is an experimental research paper relaying women's stories, gathered with Sense-Making Methodology interviews, of times they felt they were addicted to video games. My analysis, and thus the framing for this paper's "narrative", focuses on the dynamics of power in and around the women's lives during this period of addiction.]]>
This is an experimental research paper relaying women's stories, gathered with Sense-Making Methodology interviews, of times they felt they were addicted to video games. My analysis, and thus the framing for this paper's "narrative", focuses on the dynamics of power in and around the women's lives during this period of addiction.]]> Tue, 10 Jan 2012 19:05:12 GMT /slideshow/once-upon-a-time-ms-player-got-addictedand-survived-to-tell-the-tale/10950426 MediaOracle@slideshare.net(MediaOracle) Once upon a time, Ms. Player got addicted...and survived to tell the tale MediaOracle This is an experimental research paper relaying women's stories, gathered with Sense-Making Methodology interviews, of times they felt they were addicted to video games. My analysis, and thus the framing for this paper's "narrative", focuses on the dynamics of power in and around the women's lives during this period of addiction. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/onceuponatimemsplayergotaddicted-120110190514-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> This is an experimental research paper relaying women's stories, gathered with Sense-Making Methodology interviews, of times they felt they were addicted to video games. My analysis, and thus the framing for this paper's "narrative", focuses on the dynamics of power in and around the women's lives during this period of addiction.

Once upon a time, Ms. Player got addicted...and survived to tell the tale from Dominican University

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0 The metaphors of virtual worlds: How people make sense of a virtual world via the physical world. /slideshow/the-metaphors-of-virtual-worlds-how-people-make-sense-of-a-virtual-world-via-the-physical-world/10178384 microsoftpowerpoint-metaphorsofvws-111115205226-phpapp02
How do people make sense of a novel situation, such as engaging with a media product you've never used before? If that media product is a virtual world, then it appears people will make a bridge between the virtual and the physical -- by using metaphors to compare their experiences in the virtual world to those from the physical world.]]>
How do people make sense of a novel situation, such as engaging with a media product you've never used before? If that media product is a virtual world, then it appears people will make a bridge between the virtual and the physical -- by using metaphors to compare their experiences in the virtual world to those from the physical world.]]> Tue, 15 Nov 2011 20:52:24 GMT /slideshow/the-metaphors-of-virtual-worlds-how-people-make-sense-of-a-virtual-world-via-the-physical-world/10178384 MediaOracle@slideshare.net(MediaOracle) The metaphors of virtual worlds: How people make sense of a virtual world via the physical world. MediaOracle How do people make sense of a novel situation, such as engaging with a media product you've never used before? If that media product is a virtual world, then it appears people will make a bridge between the virtual and the physical -- by using metaphors to compare their experiences in the virtual world to those from the physical world. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/microsoftpowerpoint-metaphorsofvws-111115205226-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> How do people make sense of a novel situation, such as engaging with a media product you've never used before? If that media product is a virtual world, then it appears people will make a bridge between the virtual and the physical -- by using metaphors to compare their experiences in the virtual world to those from the physical world.

The metaphors of virtual worlds: How people make sense of a virtual world via the physical world. from Dominican University

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0 Comics Adaptations and True Believers /slideshow/comics-adaptations-and-true-believers/7126491 cac07reinhardcomicsadaptations-110302182740-phpapp02
This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film.]]>
This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film.]]> Wed, 02 Mar 2011 18:27:37 GMT /slideshow/comics-adaptations-and-true-believers/7126491 MediaOracle@slideshare.net(MediaOracle) Comics Adaptations and True Believers MediaOracle This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/cac07reinhardcomicsadaptations-110302182740-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film.

Comics Adaptations and True Believers from Dominican University

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0 Superheroes Around the World /slideshow/superheroes-around-the-world/6941294 superheroesaroundtheworld-110215213014-phpapp01
This presentation was a Fantasticon in Copenhagen, Denmark, last fall, discussing what defines a superhero and how this impacts how we see superheroes around the world.]]>
This presentation was a Fantasticon in Copenhagen, Denmark, last fall, discussing what defines a superhero and how this impacts how we see superheroes around the world.]]> Tue, 15 Feb 2011 21:30:10 GMT /slideshow/superheroes-around-the-world/6941294 MediaOracle@slideshare.net(MediaOracle) Superheroes Around the World MediaOracle This presentation was a Fantasticon in Copenhagen, Denmark, last fall, discussing what defines a superhero and how this impacts how we see superheroes around the world. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/superheroesaroundtheworld-110215213014-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> This presentation was a Fantasticon in Copenhagen, Denmark, last fall, discussing what defines a superhero and how this impacts how we see superheroes around the world.

Superheroes Around the World from Dominican University

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0 https://cdn.slidesharecdn.com/profile-photo-MediaOracle-48x48.jpg?cb=1522855515 My primary professional goal is to conduct and publish research that builds bridges between people -- discourse communities, ideologies, sociodemographics, academics and practioners, and so forth. Wherever there is a difference in thought that can lead to animosity, my hope is to help foster understanding, tolerance and acceptance through dialogue and discussion of convergences over divergences. My primary research interest is media reception, studied in terms of the engaging process with media products, across a variety of media products, and for a variety of media consumers/users/audience. www.playingwithresearch.com https://cdn.slidesharecdn.com/ss_thumbnails/hatsunemikupresentationabridged-170326154403-thumbnail.jpg?width=320&height=320&fit=bounds slideshow/gendering-hatsune-miku-networked-gender-and-the-coconstruction-of-identity-for-vocaloids/73657467 Gendering Hatsune Miku... https://cdn.slidesharecdn.com/ss_thumbnails/vwtvproducerscccthemes-130620131048-phpapp01-thumbnail.jpg?width=320&height=320&fit=bounds slideshow/vwtv-producers-cccthemes/23251943 Creativity, Connectivi... https://cdn.slidesharecdn.com/ss_thumbnails/thepositioningofpooky-130408142440-phpapp02-thumbnail.jpg?width=320&height=320&fit=bounds slideshow/the-positioning-of-pooky/18421876 The Positioning of Pooky