Rasmussen, Tove Arendt

Simonsen, Thomas Mosebo

Wentzer, Helle

English

    Aalborg UniversitetSocial and Audiovisual Media in the Hermeneutical CircleSimonsen, Thomas Mosebo; Wentzer, Helle; Rasmussen, Tove ArendtPublication date:2011Document VersionEarly version, also known as pre-printLink to publication from Aalborg UniversityCitation for published version (APA):Simonsen, T. M., Wentzer, H., & Rasmussen, T. A. (2011). Social and Audiovisual Media in the HermeneuticalCircle. Poster presented at Transforming Audiences , London, United Kingdom.General rightsCopyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright ownersand it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights.            ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research.            ? You may not further distribute the material or use it for any profit-making activity or commercial gain            ? You may freely distribute the URL identifying the publication in the public portal ?Take down policyIf you believe that this document breaches copyright please contact us at vbn@aub.aau.dk providing details, and we will remove access tothe work immediately and investigate your claim.Downloaded from vbn.aau.dk on: November 30, 2020Transforming Audiences 3, London, 1-2 September 2011.  Presenter:  Thomas Mosebo Simonsen,    Email :  tms@hum.aau.dk SOCIAL AND AUDIOVISUAL MEDIA IN THE HERMENEUTICAL CIRCLE    TOVE ARENDT RASMUSSEN HELLE WENTZER  THOMAS MOSEBO SIMONSEN  AALBORG UNIVERSITY,  DENMARK.     1) The naïve reading: reading based on expectations.    2) The negotiated and dialogical reading – ”the dialectic of expectations” (1984, p. 175).   - results in questions and answers about the text.   3) The critical reading – creates a further distance as a effect of the dialogical reading.  Cf.  Paul  Ricoeur :  The World of  the Text  and The World of  the Reader (1984)    THEORY OF RECEPTION   Three types of  part icipation!  (e.g. .  the “90 -9-1” rule –  cf.  Van Di jck 2009)   The reader  (the traditional viewer)    The commenting reader   1) Reading and identification of YT conventions  2) Participation in YT community.   3) critical distance towards the video    The creating reader    1) Reading and identification  of YT conventions  2) Participation in YT community and the role as a                  YouTuber.  3) creative input for improved performances :       self-reflection (e.g. acknowledging critical comments)       THREE TYPES OF READERS ON YOUTUBE    The commenting (and the creating) reader  YT as a medium platform provides an unique space for dialogical engagement with texts in the YT community: commenting, subscribing and creating as well as linking.   One result of this is phatic communication merged as a function of “sociability” (Simmels 1950).    The creating reader   YT as a medium platform forges meta-communicative, self-presentational behaviour and increasing demands for transparency.     a perfomative mode of authenticity    THE DIALOGICAL READING    Creation of new meaning - The commenting reader    “Social mechanism of reputation” ( Danath & Boyd:2004:73)- The act of detecting frauds generates meaning.      Video responding (adaptation of new online identity “produsage”) and co-creativity  (Ex. Mashup-culture that opens up for a new type of collaborative reading ( Wentzer 2006).         TEXT PRODUCTION OF THE COMMENTING READER  Creation of new meaning The commenting reader  The creator receives input that produce and re -formulate creativity.  This results in:   Self-reflexivity - Shaping an artist in the mirror of the audience –   On-going identity formation and transformation of the self.     Creation of new videos.     TEXT PRODUCTION OF THE CREATOR     EXAMPLE OF A THREE STEP READING PROCESS   PHILIPDEFRANCO (VLOGGER)  1) Creating Vlog series 2) Adaptation of a performative role as a Vlogger through engaging with YT-community. 3) Engaging with audience and media public (BBC article)              Critical response to the article and comments               Return to step 1); A new a self-reflexive and self-critical video that communicates transparency and authenticity.    Critical comment writers:       Phil’s response; “The main thing is maintaining 100% of your review”                 Lack of regulating cultural institutions.     differentiated and decentralised institutions       User-defined navigation processes.    Folksonomies   “Social mechanism of reputation”    Performative authenticity:  The discussion and creation of meaning emerges from the question of authenticity that poses as a paradoxical co -existence of search for authenticity and demands for entertainment.     MAKING SENSE OF YOUTUBE  The future of YouTube?  The emergence of pro-am-culture (Leadbeater & Miller 2004) emphasises the increasing gap between creators of UCG and its audience –  YouTube transformed into a competitive platform based on visibility?   undermining the influence of the dialogical reading?   Transformation of sociability into a strategic marketing tool? Reconfiguring sociability as simulation?   UCG a YT Bubble?   CRITICAL PERSPECTIVE 

Social and Audiovisual Media in the Hermeneutical Circle

https://vbn.aau.dk/ws/files/59490885/Transforming_audience_VBN_tmosebo.pdf

Social and Audiovisual Media in the Hermeneutical Circle

Abstract

Similar works

Full text

Available Versions

VBN