Define ‘Scholarly’

Chris Nitz Photo: Crushed by Knowledge If we objectively define ‘scholarly’ as “concerned with academic learning and research” (Dictionary.com,  2012), we find ourselves with a vague definition. We may be tempted to immediately think of left-brained academics. However, discrepancies in what must be considered academic may change that definition. If, for example, we define academics as pertaining to sciences or literacy, we end with a very different result than if we define academics as pertaining to any subject which facilitates the further development of a particular skill. Sir Ken Robinson (2006) notes that a major short coming of academics now is that we define academics much like the former, but would be served better to treat it as the latter.

Chris Nitz: A Keyboard Kind of LifeHowever, in writing, the target audience is the one that matters. As such, if you are writing to a group of social scientists, the expectation is that the prescribed protocol will be followed (Polkinghorne, 2007), and so on. In this way then, scholarly writing should be defined more along the lines of writing which facilitates the communication of critical thinking and rhetoric within a given field, using the prescribed masteries of that field. This allows for all subjects regardless of the paradigm currently subscribed to in academia.

References:

Dictionary.com (2012). ‘Scholarly’. Retrieved from: http://dictionary.reference.com/browse/scholarly?s=t

Polkinghorne, D. E. (2007). Qualitative inquiry: validity issues in narrative writing. Qualitative Inquiry13(4), 472.

Robinson, K. (2006, February). Ken robinson says schools kill creativity.. Retrieved from http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity.html

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Do the Hustle!: JK [Wedding Dance]

The JK Wedding Dance video is interesting because it challenges our social normatives, much like iconic brands do. Jenkins, Li, Krauskopf, and Green (2009) note that in order for something to be spreadable (clearly, this video is an apt example of spreadable media), it must answer a question for us, speak a truth, make sense of something, or touch us emotionally. This video allows us to experience a ritualistically sober ceremony in a non-traditional way, and allows us to do so safely from the comfort of our own home. It shows us  that something we may have previously considered socially taboo, is actually fun and completely acceptable. It allows collective intelligence to demolish pluralistic ignorance.

Chris BrownBowrey (2011) explains that many cases of copyright infringement and related disputes do not actually have the backing of the law that may be assumed. She notes that most people make assumptions about what is actually enforceable, but notes that trademark and copyright laws (and processes) are meant to cover very specific items and not thematic elements (e.g., characters). Additionally, IP laws change with the culture, and interpretation is done with an eye on the current state of culture and conceptualized future progression. This is similar to idea that the medium is the message (Federman, 2004). IP laws are flexible enough to anticipate legal needs as culture and use norms change. By understanding what is underlying and looking for those issues which are not glaringly obvious, IP law can effectively maintain the freedom and cost-effectiveness of amateur material with the commercial and professional, as suggested and called for by Cunningham (2012).

Sony’s brand relies on the notion that using their products, individuals can create whatever they can imagine (Sony Global, 2013). In the case of Jill and Kevin, they imagined a wedding outside the traditionally accepted social norms. They created an individualized ceremony, using Sony’s product (i.e., the song), because they believed they could, and they made it happen: make.believe.

Sony ElectronicsNot only does Sony have a variety of options for promoting their brand, but it seems to be recognized by many consumers that they already have benefited from the video’s popularity. Deighton and Kronfeld (2012) explain that when the video was at the height of it’s popularity, a number of people challenged the integrity of the video, accusing Sony of creating the video to induce sales and reputation reparations. It stands to reason, then, that the perception is that there was an increase in sales, as well as a shift in the artists popularity, despite his domestic abuse arrest. Rather than focusing on the negativity of the personal experiences of the artist, Sony could instead focus on the phenomenon promoted by the video which encourages a happy and unique marriage. Jill and Kevin donated money made from the video’s unexpected virality to a charity in just such a way (Deighton & Kornfeld, 2012). Allowing the song to be representative of something more positive is one way for Sony to not only take advantage of the popularity of the song and the video, but also do something socially supportive while profiting in non-direct ways. This is one of the possible actions to be taken as pointed out by Deighton and Kronfeld ( 2012). Were Sony to do something to threaten Jill and Kevin, they risk not only alienating customers who purchased the song for their wedding in the first place (i.e., Jill and Kevin), but those who spread the video, as well as those who identify with and support the charity they support with the proceeds. They also risk lash back such as that exhibited by Lenz when she the Electronic Frontier Foundation about her YouTube video (Deighton & Kornfeld, 2012). And that is not even taking into account a possibly unfounded complaint which, according to Bowrey (2011), is a very real possibility.

References:

Bowrey, K. (2011). The new intellectual property: Celebrity, fans and the properties of the entertainment franchise. Griffith Law Review, 20(1), 188-220.

Cunningham, S. (2012). Emergent innovation through the coevolution of informal and formal media economies. Television New Media, 13(5), 415-430.

Deighton, J., & Kornfeld, L. (2012). Sony and the JK Wedding Dance. Boston, MA: Harvard Business College.

Jenkins, H., Li, X., Krauskopf, A., & Green, J. (2009). If it doesn’t spread, it’s dead (part one): Media viruses and memes. Retrieved from http://henryjenkins.org/2009/02/if_it_doesnt_spread_its_dead_p.html

Sony Global. (2013). Sony group brand message “make.believe”. Retrieved from http://www.sony.net/united/makedotbelieve/

Sherpani: Part of Your World

The Little Mermaid (the original Hans Christian Anderson version) is an example of Campbell’s ‘monomyth’ (Vogler, 2007). As archetypes go, it is a story of the Lover as well as the Explorer (Mark & Pearson, 2001). This story speaks to both of these archetypes through the goals of the Little Mermaid; the love of the prince and an eternal soul (and in some analyses of the story, experiencing the unknown). A brand that resonates well with both of these concepts is Sherpani. Sherpani’s brand embraces the concept of “Breathe, Give, Stretch, Go.” The idea behind Sherpani is that women are unique, active, and should be able to have bags that embrace femininity and the outdoors. In their concept, breathe stands for “breathe fresh air”, give means “give your love”, stretch represents “stretch your mind and body”, and go reminds us to “never stop moving”. The Little Mermaid embodies all of these notions.

As such, one might harness the existing story in the form of a text-based novel for the main story anchor medium (Rutledge, 2013). The Little Mermaid could have an online journal (blog) which serves as a diary for collecting her thoughts, contemplations, events/experiences, and perceptions of what is happening. She could also post photos of the prince and links to dances she learns for him. And the Little Mermaid’s blog could allow for comments which could encourage readers to share stories of love, advice on how to interact with surface dwellers, princes, and/or general feedback on posts. This resonates with each of Sherpani’s core words.

The Prince may have an interactive online nautical map, complete with notes on trips, information about ships (e.g., costs, crew lists, photos, checklists for expedition preparations, etc.), information about the sea (from a surface perspective), and may solicit ideas about future trips from readers, as well as their photos, maps, and suggestions for gear. This, while not feminine per say, embraces the core concept of ‘stretch’.

An interactive game could allow readers to attempt to make it through the trial period of a Daughter of the Air to their rise to the eternal kingdom by allowing them to visit houses and collect smiles while avoiding tears. The game could be made as a downloadable mobile app or as an indie game on XBox or PS networks. The game could allow readers to accept the fate of the Little Mermaid as immortal, even after her loss, which assures the safety of the reader (Nell, 2002) regarding the immortality of his/her soul. This embraces, quite literally, Sherpani’s concept of ‘breathe’.

The Little Mermaid could also have an Instagram account on which she takes pictures of the adventures she has with the prince (i.e., exploring the kingdom). She could also have a Twitter account on which she posts observations about the trips, is able to post the Instagram photos, can mention the prince, and allow them to communicate (as she has no tongue). This resonates with Sherpani’s core concept of ‘go’.

The Little Mermaid’s five sisters could have a Vine account which would allow them to discuss hair care, the hottest products, and the latest trends in merfolk fashion as well as connect with surface dwellers (aka readers) and exchange fashion savvy. The fashion account allows the sisters’ sacrifice to be more meaningful, while allowing for immersion which carries on throughout the readers day as decisions about clothing and accessories are made. To this end, the sisters could even create a Postmark account and sell accessories by artists who have partnered up with Sherpani, as a means of supporting a social campaign like The Cove. This also embraces the core concept of ‘give’ in a variety of ways (i.e., giving love but also loving individual uniqueness and styles).

The Little Mermaid, as a fairytale allows readers to experience a roller-coaster of emotions, as she moves through her hero’s journey. Allowing readers to be involved in that journey by harnessing the innate archetypes contained therein, propels this timeless classic into its next evolution, and allows Sherpani the embrace archetypes and the telling of universal truths, an ability exhibited by icons (Mark & Pearson, 2001).

References:

Mark, M., & Pearson, C. (2001). The hero and the outlaw building extraordinary brands through the power of archetypes. New York: McGraw-Hill. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=63620

Nell, V. (2002). Mythic Structures in Narrative. In M. C. Green, J. J. Strange & T. C. Brock (Eds.), Narrative Impact: Social and Cognitive Foundations (pp. 17-37). Mahwah, New Jersey: Lawrence Erlbaum

Rutledge, P. (2013). Case study example: The three little pigs. Retrieved from: http://athinklab.com/transmedia-storytelling/case-study-example-the-three-little-pigs/

Vogler, Christopher. (2007). The Writer’s Journey: Mythic Structure for Writers (Third ed.). Chelsea, MI: Sheridan Books. p. 3-27.

Mountain Dew: Iconic Brand

PEPSICO HOW WE DEW CAMPAIGNIn gaming, before the energy drinks (Redbull, Jolt, etc.) came out, gamers seemed to reach for one drink above the rest to survive long gaming sessions. Even then, Mountain Dew was promoting a life of being who you are, being an unique, and taking it all the way. Brands, such as Mountain Dew, define who they are through the stories they tell (Fog, Budtz, Yakaboylu, (2005). Their new promotion, “This is how we Dew”, carries on that story using a creative collection of flavors (some solicited by fans), energetic images on their labels, and unusual colored drinks in see through bottles. Nowadays, Mountain Dew perpetuates that brand by telling the stories of a handful of x-sport athletes and musicians (Mountain Dew curates independent artists who represent the essence of their brand, Green Label Sound) “striving to “do how they Dew” with the help of Mountain Dew. Videos showing off collaborations, videos of the artists promoting the brand concept, a host of social media sites (including Twitter and Facebook) populated with contests, immediate acknowledgment of customer feedback and help where necessary, Instagram photos of the products in a variety of situations (e.g., with skateboards or video game controllers), and an interactive site that acts as the hub for all of the elements of the brand and is as unique and fun as the people Mountain Dew promotes.

avatars-000007909874-xmyrry-cropHolt (2004) notes that there are four steps to building an iconic brand. First, he mentions targeting a social tension; something that creates dissonance within a community. Second, the brand acts in a manner that alleviates that tension by bringing it to light and moving past the issue to solve it. Doing this may take the form of artistic expression, which is the third concept listed. Being a brand that people can look to for guidance or permission for expression allows the brand to stand out from the rest. Finally, the brand must be seen as having integrity. When a group expresses interest in something, or says they care about something, they must care and follow through (2004).

Mountain Dew has done these things by taking hold of the concept of individuality and the assertion that young people can break away from the social norm of desk jobs and more academically inclined careers and be expressive as a way of life. They support artists and athletes, assisting in the building of facilities for the cultivation of these skills, a site to promote music, and allowing these individuals to be part of Mountain Dew’s promotions as well (thereby getting the individuals more exposure). They’ve followed all of the concepts that Holt discusses aptly. Customers can send videos, write poetry, submit photos and create music to perpetuate the brand and discover others with similar interests, and even submit recommendations for new flavors of the soda, thereby co-creating the brand.

References:

Fog, K., Budtz, C., & Yakaboylu, B. (2005). Storytelling: branding in practice. Berlin ; New York: Springer.

Holt, D. B. (2004). How brands become iconic: Principles of cultural branding. Boston, MA: Harvard Business School Press.

Nice! A Case Study of Transmedia—How “Fringe” Used Spreadable Media by Jason Ohler | Tracking Transmedia

See on Scoop.itComponents of Media Psychology

“When I speak about the Mega Makeovers That Will Change Everything Educational, one of those makeovers is certainly the transmedia phenomenon.
See on www.scoop.it

Argumentation Fuels Learning

Argumentation fuels learning. Weston (2009) states “Argument is essential, in the first place, because it is a way of finding out which views are better than others,” that “… argument is a means of inquiry” (p. xi).

Regardless of topic, the argumentation requires an understanding of the power of words and their structure. Just as Prose (2006) came to understand the value of close reading through an examination of Oedipus Rex, so too can we come to appreciate the richness of specifically chosen words through reading and analysis; learning.

Aggressive-ArgumentationBecause there are those who assume that we will mindlessly follow them and their causes, we must be adept in weighing empirical evidence, analyzing analogies, and considering reputability. In order to do this, we must develop and maintain the ability to research topics and understand principles of rhetoric. It behooves us to dive into the meaning of the words used, beyond the celebrity of the speaker, and consider every angle of that which we are exposed to.

Whether crafting a response to a political platform, commenting on the value of a product, or encouraging the patronage of a local business, the words we choose are compelling when used properly. Global activism thrives on powerful communication taking a variety of forms, but starting with purposeful words (de Jong, Shaw, & Stammers, 2005). It is up to those of us who are apt to share information and challenge assumptions, choosing our words carefully, and presenting a comprehensive examination of our view.

Weston (2009) says “Real argument… takes time and practice. Marshaling our reasons, proportioning our conclusion to the actual evidence, considering objections- and all the rest- these are acquired skills” (p. xii). Arguing requires learning.

References:

de Jong, W. de, Shaw, M., & Stammers, N. (2005). Global activism, global media. London; Ann Arbor, MI: Pluto Press.
Prose, F. (2006). Reading like a writer : a guide for people who love books and for those who want to write them. New York: HarperCollins Publishers.
Weston, A. (2009). A rulebook for arguments. Indianapolis: Hackett Pub.

Monster High: Transmedia Education

Whole_monster_high_crewIndividuals learn in a variety of ways (Felder & Spurlin, 2005). One method for educating is storytelling. Storytelling is a way of communicating and processing events and information; taking away the lessons that life has to offer (McKee, 1997). Understanding that people learn in a variety of ways, and that storytelling is tradition of humankind, it makes sense to tell stories using a variety of media. Hence, transmedia storytelling (Jenkins, 2007).

An example of how transmedia storytelling can teach children is Monster High. Monster High began as a web series; short 3 minute videos which tell the story of a group of students in high school. The catch is that they are all the children of famous monsters (e.g., Dracula, the werewolf, zombies, the Mummy, etc.). From there, Mattel created dolls, games on both computer and DS, art projects on their website, teen paranormal novels, kits to create your own dolls, a wiki, and a whole host of other media telling different parts of the Monster High story. Tim Kring (2008) notes that transmedia includes a central world (he calls in the ‘mothership’) from which all other media branch and to which all other media reconnect. Part of the educational aspects inherent in Monster High come not only from the facilitation of media literacy development, but from the history which is included in the creation of its world. If a child wants to know more about Cleo de Nile’s background, personality traits, habits, and interests, they must research her father (aka the Mummy) and his origins (i.e., Egypt). The same goes for every character. Children who are immersed in this story are guided to topics such as steampunk, French cathedrals, musical theatre, and mythology.

Monster HighAnother aspect of transmedia storytelling which Monster High accounts for is collective intelligence and user-generated content. Countless YouTube videos feature tutorials on recreating the makeup looks of the characters, creating custom dolls, and fan fiction. Monster High has also supported pre-teen focused social marketing content, allowing social issues to be addressed first via web video, then via wiki.

Because of the expansive ways in which transmedia storytelling reaches its audience, it can be harnassed for education as well as entertainment. Monster High is an example of that combination, though many other examples may be found throughout history (MIT, 2006).

References:

Felder, R. M., & Spurlin, J. (2005). Applications, reliability and validity of the index of learning styles. International Journal of Engineering Education, 21(1), 103–112.
Jenkins, H. (2007, March 22). Transmedia storytelling 101. Confessions of an Aca-Fan: The Official Weblog of HenryJenkins. Retrieved from: http://henryjenkins.org/2007/03/transmedia_storytelling_101.html
McKee, R. (1997). Story : substance, structure, style, and the principles of screenwriting. New York: ReganBooks.

Augmented Reality to Ease Social Phobia

Social phobia (aka ‘social anxiety’) has been described by psychoanalysts as fear which stems from internal anxiety. It’s commonly exhibited during interactions in which the person inflicted is performing an act during which they may be scrutinized by others. Examples of this include public speaking, writing, and social interactions (e.g., parties, classes, jobs). Symptoms almost always include sweating, blushing and shaking. Psychoanalysts suggest that social phobia is the displacement of some implicit feeling of shortcoming that is the result of specific experiences. Participants suffering from social phobia report feelings of inadequacy, fear of rejection, submit to more strict social behavior standards, and fear that others will notice their anxieties. (Liebowitz, Gorman, Fyer, & Klein, 1984)

Though social interactions have been facilitated with increasing frequency online, dealing with social phobia must still be a priority for those suffering from it. Phobias can become debilitating and begin affecting the patient’s ability to perform everyday functions. Chayko (2008) notes that online interactions facilitate increased levels of trust and intimacy between people and within social groups due to the anonymity inherent in them. Gackenbach (2009) describes the disinhibition effects that occur as a function of virtual interactions. Essentially, when individuals feel a level of safety, they allow themselves more freedom of expression. Boundaries which are typically very rigid may become broader and less strictly adhered to by those communicating virtually.

Studies have found this to be true of users of social media such as Facebook (Orr et al, 2009). Social media not only allows individuals to develop relationships with those whom they know minimally in real life, but they allow for the continued participation in existing offline relationships. Additionally, studies have shown that individuals who tend to be more socially inept, find social interactions in massively multiplayer online role-playing games (MMORPGs) more attainable and less fear inducing (Cole & Griffiths, 2007). MMORPGs allow players to commit to common goals, form groups which work together to procure resources, plan participant roles, identities, and allow all interactions to be kept at a safe, anonymous distance if need be.

However, no one media is sufficient to resolve social phobia. As with anything, convergence means taking advantage of every media’s strength and using the collective group of media simultaneously to reach a specific goal. In this case, while social media allows for disinhibition and more frequent socialization, as well as control over one’s immediate surroundings during use, it doesn’t allow the individual to learn to cope with offline interactions. Games, while they allow for teamwork and identity expression, don’t necessarily allow for the development of these skills in offline situations either. Media which allow for the optimization of benefits from both social media and gaming, with additional support for transferring those skills from online to offline situations, present a possible solution.

One such media is augmented reality (AR). By definition, AR is the layering of virtual content over actual, present, reality. It is meant to enhance existing ‘content’ by allowing access to more information than is innately available. Imagine an AR application which someone who was socially phobic could take into a work party; perhaps in the form of a contact lens. Say this application monitored groups (e.g., how many people were clumped together), conversations (e.g., what they were talking about), gathered information about social norms for the group and suggested courses of action for the individual (e.g., suggested conversation topics, which groups may be more amenable to additional participants, which foods may be least messy to eat, etc.). This application could be programed to work in a number of social situations such as public speaking, shopping, dining out, and travelling. Additional functions could include situations under which users could practice the application and set preferences according to their personal fears and responses. The application could also be made to monitor autonomic arousal responses (much like a heart rate monitor on a treadmill) and alter suggestions based on the somatic responses of the user.

Augmented reality applications, though not perfect by any means, presents an alternative to specifically online or offline situations by creating a combination of the two. Though psychoanalysts may take issue with AR as therapy for social phobia, if an individual is given more control over their surroundings in the form of AR, there is every possibility that it can act as a sort of placebo which eases somatic responses to the phobias. The more open minded we as consumers are to augmented reality the more avenues open for therapy alternatives and psychological research in general.

References

Chayko, M. (2008). Portable communities : the social dynamics of online and mobile connectedness. Albany: SUNY.

Cole, H., & Griffiths, M. (2007). Social interactions in massively multiplayer online role-playing gamers. CyberPsychology & Behavior, 10(4), 575-583. doi: 10.1089/cpb.200739988

Gackenbach, J. (Ed.). (2007). Psychology and the internet : intrapersonal, interpersonal, and transpersonal implications. Amsterdam; Boston: Elsevier/Academic Press.

Liebowitz, M., Gorman, J., Fyer, A., & Klein, D. (1985). Social phobia: Review of a neglected anxiety disorder. Arch Psychology, 45, 729-736. Retrieved from: http://archpsyc.jamanetwork.com/

Orr, E. S., Sisic, M., Ross, C., Simmering, M. G., Arseneault, J. M., & Orr, R. R. (2009). The influence of shyness on the use of Facebook in an undergraduate sample. CyberPsychology & Behavior, 12(3), 337–340. doi:10.1089/cpb.2008.0214

Fog of War: References for Weeks 1 and 2

Before We Get Started…

Let me say, before I list these, that I’m attempting to bring in both perspectives in ways that are not offensive. These aren’t research articles that are necessarily representing my point of view, but rather provide insight into all views (without calling the opposing view stupid or wrong).


Week 1: Sexualization, Marginalization, and Causation- OH MY!

For week one, we talked about the sexualization of characters, marginalization in gaming communities, and possible causation of sexism in gaming. Per our discussion, I haven’t been subjected to sexism in gaming, and Micah sees it happening and thinks that the players are at fault; not the game devs. John brought up the advertising aspect, noting that advertisers lead the trends, and gamers follow. I reminded him that while we have correlation, we don’t really have causation.

References:

Bice, M. (2011). On men’s sexualization in video games. Gamasutra. Retrieved from: http://www.gamasutra.com/blogs/MattieBrice/20111129/9003/On_Mens_Sexualization_in_Video_Games.php

Bycer, J. (2012). . The difficulties and controversies of designing female characters: Or how not to add a woman’s touch. Gamasutra. 

Cassell, J., & Jenkins, H. (2000). From Barbie® to Mortal Kombat: Gender and Computer Games. MIT Press.

Dickey, M. D. (2006). Girl gamers: the controversy of girl games and the relevance of female-oriented game design for instructional design. British journal of educational technology37(5), 785–793.

DuVoix, H. (2012). Venus in Mars: Gender equality in fighting games. Ontological Geek. Retrieved from: http://ontologicalgeek.com/venus-in-mars-gender-equality-in-fighting-games/

Ivory, J. D. (2006). Still a Man’s Game: Gender Representation in Online Reviews of Video Games. Mass Communication and Society9(1), 103–114. doi:10.1207/s15327825mcs0901_6

Nerdlove. (2011). Nerds and male privilege. Paging Dr. Nerdlove. Retrieved from: http://www.doctornerdlove.com/2011/11/nerds-and-male-privilege/

Sharkey, S. (n.d.). Top 5 most attractive, non-sexualized women in games. 1Up.com. Retrieved from: http://www.1up.com/features/top-5-attractive-nonsexualized-women

Week 2: An Ode to Those Media Literate Kiddos!

In week two, we talked about children (of all ages) and the benefits of media literacy. We discussed educational uses for media, motivations in gaming, and things that can be learned from each genre of game. Micah, John, and I all discussed our favorite game genres, and what we feel we’ve learned from them.

References:

Annetta, L. A. (2010). The “I’s” have it: A framework for serious educational game design. Review of General Psychology14(2), 105–112. doi:10.1037/a0018985

Barnett, J., & Coulson, M. (2010). Virtually real: A psychological perspective on massively multiplayer online games. Review of General Psychology14(2), 167–179. doi:10.1037/a0019442

Cole, H., & Griffiths, M. D. (2007). Social Interactions in Massively Multiplayer Online Role-Playing Gamers. CyberPsychology & Behavior10(4), 575–583. doi:10.1089/cpb.2007.9988

Dieterle, E., & Clarke, J. (in press). Multi-user virtual environments for teaching and learning. In M. Pagani (Ed.), Encyclopedia of multimedia technology and networking (2nd ed). Hershey, PA: Idea Group, Inc.

Floyd, D. (2008). Video games and learning[Web Video]. Retrieved from: http://www.youtube.com/watch?v=rN0qRKjfX3s

Gackenbach, J. (Ed.). (2007). Psychology and the internet : intrapersonal, interpersonal, and transpersonal implications. Amsterdam; Boston: Elsevier/Academic Press.

Giles, D. (2010). Psychology of the media. Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan.

Ohler, J. (2008). Digital storytelling in the classroom new media pathways to literacy, learning, and creativity. Thousand Oaks, Calif.: Corwin Press. Retrieved from http://catalog.hathitrust.org/api/volumes/oclc/86038208.html

Rosas, R., Nussbaum, M., Cumsille, P., Marianov, V., Correa, M., Flores, P., Grau, V., et al. (2002). Beyond Nintendo. design and assessment of educational video games for first and second grade students.pdf. Computers & Education, 40(2003), 71–94.

Zhou, Z., Jin, X.-L., Vogel, D. R., Fang, Y., & Chen, X. (2011). Individual motivations and demographic differences in social virtual world uses: An exploratory investigation in Second Life. International Journal of Information Management, 31(3), 261–271. doi:10.1016/j.ijinfomgt.2010.07.007

Technophilia

Being in love with technology (aka ‘technophilia) is not as shocking as it may seem. A passion for inatimate things, living things, things that make our lives easier, and things that facilitate secret (or not so secret) desires has long since been a common thing; unspoken though it may be (Kelly, 2010).

Harlow (1958) introduces the concept of love after measuring a monkey’s preference of articial mothers. If, in 1958, a monkey can show an affinity for an inatimate object, why is it then so hard to admit or imagine that we are able to have real emotions for technology? Mary Chayko (2008) relays the emotional connectedness that we find using virtual technologies; relationships are formed and brought to fruition virtually every day. People, frustrated with their real life situations, find solace in virtual communities and online games which provide alternate realities for them to escape to (Zhou, Jin, Vogel, Fang, & Chen, 2011).

How can technology facilitate these accomplisments, and escape our attention and our devotion? An appreciation for the thing allowing us to reach our goals is inevitable. The more we embrace technophilia, the more prevalent it will become (Kelly, 2010).

References:

Chayko, M. (2008). Portable communities : the social dynamics of online and mobile connectedness. Albany: SUNY.

Harlow, H. (1958). The nature of love. The American Psychologist13, 673-685.

Kelly, K. (2010). Technophilia. In J. Dibbell (Ed.). The best technology writing 2010. New Haven: Yale University Press.

Zhou, Z., Jin, X.-L., Vogel, D. R., Fang, Y., & Chen, X. (2011). Individual motivations and demographic differences in social virtual world uses: An exploratory investigation in Second Life. International Journal of Information Management, 31(3), 261–271. doi:10.1016/j.ijinfomgt.2010.07.007