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.

Role-Playing on Twitter

Role-playing on Twitter may be an effective tool with which individuals may seek online support. Play, in general, is not only a method for escaping the difficulties and mundane activities of every day life, it is also a way for us to understand ourselves, our place in the world, and our relations to others (Chayko, 2008). Role-play, more specifically, has been used for education (Riddle, 2008), the processing and resolution of conflict (Houston, Magill, McCollum, & Spratt, 2001), and as a way to hone interpersonal skills in both virtual and face-to-face communities (Jung, 2007). Twitter, specifically, facilitates disinhibition in virtual connectivity (Joinson, 2007), intimacy via written text (Tanis, 2007), specifically targeted audiences (Marwick & boyd, 2010), and connect to communities based on common interests (Zappavigna, 2011).

role-playing-games-rpg-demotivational-posters-1341522698One example of role-playing on Twitter is the individuals brought together by their interest in League of Legends (LoL), a massively online battle arena (MOBA), who have created Twitter accounts posing as characters from the game. Those characters, bound in some way by the lore already created by game developers, interact in a way which allows LoL to become immersive. These characters already belong to communities, based on their lore, however the community of role-players also begin to develop “meta” rules (e.g., social norms) for what is acceptable behavior when acting as a character. For instance, when speaking out of character the role-player must use “//” before the text.

fantasy_roleplayingRole-players use text to indicate physical movement as well. This is consistent with Tanis’s (2007) note that individuals change writing forms and word usage to indicate non-verbal cues when having text based conversations in which non-verbal cues are necessary. When becoming a part of this community, role-players who have been in the community longer, use the direct message function of Twitter to explain abbreviations, meta rules, and work out characters’ story lines (or TL’s). This sharing of information is also consistent with Parks (2011) assertion that communities inherently have a form of information sharing. Additionally, this community allows for strong bonds between players, allowing for informational and emotional support (Tanis, 2007).

Role-playing in online communities, such as the ones found on Twitter, allow us to learn to develop identities (whether our own, or role-played), adhere to social norms and meta rules for communities, become immersed or facilitated the immersion of others into a transmedia story, and provide or find support using online connectivity.

References:

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

Houston, S., Magill, T., McCollum, M., & Spratt, T. (2001). Developing creative solutions to the problems of children and their families: Communicative reason and the use of forum theatre. Child and Family Social Work, 6, 285-293.

Joinson, A. (2007). Disinhibition and the internet. In J. Gackenbach (Ed.), Psychology and the Internet: Intrapersonal, Interpersonal, and Transpersonal Implications, (pp. 75-92). New York, NY: Elsevier.

Jung, Y. (2007). Role enactment in interactive media: A role-play perspective. Dissertation Abstracts International Section A: Humanities and Social Sciences, , 4124-4124. Retrieved from http://search.proquest.com/docview/621722683?accountid=10868. (621722683; 2008-99070-189).

Marwick, A. E., & boyd, d. (2010). I tweet honestly, I tweet passionately: Twitter users, context collapse, and the imagined audience. New Media & Society, 13(1), 114–133. doi:10.1177/1461444810365313
Riddle, M. D. (2009). The Campaign: a case study in identity construction through performance. ALT-J, 17(1), 63–72. doi:10.1080/09687760802649855
Parks, M. (2011). Social network sites as virtual communities. In Z. Papacharissi (Ed.), A Networked Self: Identity, Community, and Culture on Social Network Sites, (pp. 105-123). New York, NY: Routledge.
Tanis, M. (2009). Online social support groups. In A. Joinson, K. McKenna, T. Postmes & U. Reips (Eds), The Oxford Handbook of Internet Psychology, (pp. 139-163). New York, NY: Oxford University Press.
Zappavigna, M. (2011). Ambient affiliation: A linguistic perspective on Twitter. New Media & Society, 13(5), 788–806. doi:10.1177/1461444810385097

What is Social Media?

Defining social media is just as important as operationally defining any variable in any research. When a term or concept remains undefined, communication breaks down on a fundamental level. Individuals may discuss the same word with two very different concepts in mind. Social media has been defined as any platform facilitating communication, as well as the content which people share over social networks. Either way, before progressing into a world thick with social media, we must define it.

Social media facilitate and enhance existing and prospective social connections (Donath, 2004). Social media, in all their numerous forms, create opportunities for individuals worldwide to communicate (Rutledge, 2012).

Social media types vary based on their main functions in communication (Rutledge, 2012). Categories includes searches, blogs, wikis, folksonomy, and social networking; each category comes with a variety of applications, sites, platforms, and technologies to facilitate their particular function (2012).  Additionally, individuals may use the same social media in a variety of ways (Chayko, 2008).

Twitter is used to connect like minded communities based on interests and geographical locations (Java, Finn, Song, & Tseng, 2007). Facebook tends to be used to maintain and strengthen pre-existing relationships (Ellison, Steinfield, & Lampe, 2007). MMORPGs have been used to develop skill such as teamwork and leadership, as have first-person shooters (Cole & Griffiths, 2007; Jansz & Tanis, 2007). Social media are also used as a means of identity verification (Burke & Stets, 2009), overcoming social phobias and marginalization (Cabiria, 2008; Orr et al., 2009), and education (Barnett & Coulson, 2010).

References:

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
Burke, P., & Stets, J. E. (2009). Identity theory. New York, NY: Oxford University Press. Retrieved from http://site.ebrary.com/id/10329671
Cabiria, J. (2008). Real Life + Virtual Life = One life by Dr. Jonathan Cabiria [Web Video]. Retrieved from http://www.youtube.com/watch?v=N3qwdQLSt2I&feature=youtube_gdata_player
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 & Behavior10(4), 575-583. doi: 10.1089/cpb.200739988
 Donath, J. (2004). Sociable media.
Ellison, N. B., Steinfield, C., & Lampe, C. (2007). The benefits of Facebook “friends:” social capital and college students’ use of online social network sites. Journal of Computer-Mediated Communication12(4), 1143–1168.
Java, A., Finn, T., Song, X., & Tseng, B. (2007). Why we Twitter: Understanding microblogging usage and communities.
Jansz, J., & Tanis, M. (2007). Appeal of playing online first person shooter games. CyberPsychology & Behavior10(1), 133–136. doi:10.1089/cpb.2006.9981
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 & Behavior12(3), 337–340. doi:10.1089/cpb.2008.0214

Rutledge, P. (2012, September). Social media 101 [PowerPoint].

Desperately Seeking Future

This is the portion of the show where we contemplate what our dream social technology would do. I’m not great at dreaming big (the hazard of being a realist). I am, however, great at explaining why I like what I like; we start there.

First and foremost, my favorite social media is Google; all of it. The reason being that there are so many ways to connect, types of uses, and useful media all under one roof. That being said, Google doesn’t work under one application (at least on my phone), so moving from one to the other can be challenging. Google, as a company, seems to be mindful of ways in which the internet COULD be used better, rather than just coming up with more options for current use (although Google+ did kinda do that).

I love Skype because it allows me to see and hear friends who are far away (same reason I enjoy Google Hangouts). I like Twitter because it allows me to connect with people I don’t otherwise know via networking and like-minded communities. Most of my new friends come from Twitter. Twitter, for the record, is also where my secret venting account is. Control over who sees you ginger rage is good. Facebook allows me to keep contact with friends from long ago, keep up on current events (because that’s where they get posted… sadly), and keep in (distant) touch with family that is, well… family. StumbleUpon and Pinterest allow me to explore sites and places on the interwebs that I would likely never find on my own, as well as connect with people who are like minded. Foursquare feeds my competitive side while I’m out doing chores I would be doing otherwise, helps me connect with people in my community who frequent similar places, and gives great access to great tips and discounts. I love texting because it allows me to have instant access to my friends and let’s me word things deliberately. Email gives me a similar outlet, but I tend to use it more formally, and typically when I don’t need an immediate response. I love Pandora because it let’s me discover new music for when I’m studying or gaming, as well as let’s me customize a playlist of music I don’t necessarily own. Dropbox allows me to share things that I don’t want everyone else to see. Gaming let’s me socialize, achieve, and escape. And I love the skills I develop from gaming as well. Finally, WordPress, of course, gives me a place to share my passion, as nerdy as they tend to be. 😉

So, now that I’ve nearly exhausted my list of social technologies I love already, what can be better? Having them all in one place. While the cell phone is nearly that (and allows for immediate and mobile access to boot), I’m talking about an all in one, open source (Apple and Microsoft give me a headache with their exclusivity and partnering), simply designed but fully customizable, social technology that allows for all of my contacts, venting, exploring, connecting,  sharing, etc.

Oh… and here’s the kicker; the reason it’s a dream: I want it to be ad free. No sponsors begging me to allow them to control all of my doohickies… none of that.  I know it’s a lot to ask. But this is MY dream, right?

OOH! And since we ARE dreaming… I want it all to be in an AR contact lens that allows me to drive and still wear my vision correcting lenses. 🙂

Gender Bender Project

It doesn’t get any sexier than the amazing Yara Sophia.

Tyanne Olson (Olson, 2012) does a great job of creating a comprehensive transmedia portfolio which seeks to challenge the social construction of ‘gender’. She uses Twitter (@gendertweet) to target in-group individuals by sharing insights, photos, and creating a community for the safe identity verification of those affected by marginalization. Facebook is used as another way of connecting with the in-group and providing socialization, support, and links to related articles, blogs, and alternate social media outlets. Tyanne also uses Pinterest as a creative element; its purpose is to resonate with in-group and general populations via visual stimuli. To round out the transmedia goodness, she uses Time Magazine to reach the general populous, branching out to begin a reformation of marginalizing social norms.

Tyanne’s project works because she has a targeted audience and uses specific media to reach them (i.e., those affected by marginalization and the general population). She is conscious of the needs of the in-group and provides support for them, allowing for a safe community which facilitates the trying-on and verification of an identity which may be easier to come to grips with in a virtual community first. She also provides a clearly defined identity for the project, which immediately allows the viewer/participant/community member to understand where they are (e.g., what sociomental space they’ve stumbled into) and what is being addressed.

For more information click the links below:

Facebook Page

Twitter Feed

Pinterest

References:

Olson, T. (2012).  The gender identity project [PowerPoint presentation]. Retrieved from:

Twitter Rant Pt 3 (I had nothing to do with this)

Twitter: The Rant (aka Part II)

Don't mind if I do!

As promised, as there is a break in classes and this is long overdue, I will rant a bit about why I don’t tweet nearly as much as I used to.

First, let me say that there is a time and a place for Twitter. People who use Twitter, tend to do so in order to appraise others of their daily goings on, share information with colleagues or other like-minded individuals, or get the latest scoop on whatever their favorite subject/celeb has to offer. I’m not going to site the resources again (see my first post about Twitter for those), but the point is that there is a time and a place. It is useful.

However, one of the big draws to Twitter is that you can use the internet and social networking to connect to a community (whether it’s geogratphical or topical). The kicker, though, is that people aren’t interested in being a part of a community when they aren’t appreciated, treated fairly, or contributing rather substantially in one way or another. The key here for me, personally, is the former.

I don’t want to be a part of a community that doesn’t value it’s members enough to protect them from each other. A community where one person makes a bad choice and is completely shunned. And another person makes the same choice, but is charismatic, and is cheered as a hero. A community where someone who is honest, and kind, and supportive is dismissed because the person who hurt him is revered. I can not be a part of such a community; I WON’T.

Although Twitter is literally populated with millions of users, in reality, it’s a tiny world where those who know you are GOING to find you whether you want them to read what you’re saying or not. Thank goodness for permissions.

The bottom line for me: If I’m supposed to be able to say whatever is on my mind, and feel safe, I need to know that what I say isn’t going to be used against me in my “IRL” social life. I need to know that I’m not inadvertently giving people fuel for their evil doings. I need to know that when I show up to a “tweetup”, I won’t be subjected to liars, swindlers, and people of an otherwise ill reputed nature. The obvious answer is to stop tweeting; and I have. Or… have I?