THE DIGITAL DIVIDE

The DIGITAL DIVIDE

The digital divide: inequality between groups caused by the amount of access, use or knowledge to information and communication technologies (Wikipedia, 2012). Within a country the digital divide can refer to the inequalities that result “between individuals, households, businesses, and geographic areas at different socioeconomic and other demographic levels” (Wikipedia, 2012). Another form of a digital divide is between developing and developed countries. This is called the Global digital divide in which countries are the “units of analysis” (Wikipedia, 2012). Flew (2008) stresses the importance of distinguishing the difference between the ‘global divide’ and the social divide’. The ‘global divide’ refers to the “access between nations based on access to networked ICT infrastructures, computers etc” and the ‘social divide” being the gaps within nations” (Flew, 2008).

Wikipedia (2012) explains the three factors that affect the access of use of information communication technologies (ICTs) and the Internet are race, gender and geographic location. Flew (2008) cites Murdock and Golding (2004) as highlighting the unequal distribution of opportunities to learn new computing and software skills as the reason why the digital environment will continue to “reflect other sources of social inequality, such as those arising from income, occupation, or geographic location.”

The below video uploaded on YouTube (2008) refers to the digital divide as being the gap between those who benefit from technology and those who do not. The video highlights the way access and ability lead to empowerment (Scottnordq, 2008).

Dr David Brake (2012) urges journalists to take time to think about the digital divide. Brake (2012) unveilekd findings of journalists conducting research using “social medis as a source of news and opinion by journalists covering both UK and foreign news.” He continues to argue that people who use eosicla media (in the developing world) and people contribute to the materual that news organizations then source are generally more “high status, highly educated and more wealthy.” As the previously mentioned factors affecting access and creating the digital divide are “income, occupation or geographic location” (Flew, 2008), Brakes claims add up. By using digital sources and concentrating on “the interests and priorities of those people (who are, after all, easy to monitor) may lead journalists to unconsciously skew their coverage and miss the overall picture” (Brake, 2012). 

Quick (2011) believes the digital divide in journalism is not between those who have access to print or digital but those who are divided up between the ‘Big “J” Journalists’ and the ‘”We the People” Journalists’. Big J Journalists care about writing and publishing, seeing themselves “as though leaders in the community who always know more than their audience” (Quick, 2011) and are unaffected if no one form the digital community reads or interacts with their content. The opposing group, We the People Journalists, care most about “publishing content that impacts people’s lives (people read, talk about and act on the content)” (Quick, 2011) and ultimately prefer digital journalism to print. This divide in journalists may be linked to the divide in generations.

NYU Journalism student, Abby Stokes, presents a theory of the immense digital divide between “those borin in today’s technology generation and those who did not grow up using a computer” (Stokes, 2011). A hype cycle shows how and when technologies move beyond the hype and offer practical benefits to then become widely accepted (Wikipedia, 2012). Stokes (2011) believes that anyone can learn to use a computer and refers to those over the “age of 40 as a digital immigrant and anyone under 40 as a digital native”. 

If a source of inequality can arise form occupation (Flew, 2008), those with the occupation of a journalist must endeavour to shrink the divide by incorporating both digital and print into the journalism field across all ages, races and geographic locations. 

References:

Brake, D. (2012). Journalism and the Digital Divide. University of Bedfordshire. Retrieved November 27, 2012, from http://www.beds.ac.uk/howtoapply/departments/jc/news/2012/journalism-and-the-digital-divide

Flew, T. (2008). New Media: An Introduction. South Melbourne, Victoria: Oxford University Press. http://terryflew.com/ 

Quick, S. (2011). The non-digital divide in journalism: audience. Retrieved November 27, 2012, from http://mojosunite.com/the-non-digital-divide-in-journalism-audience

Scottnordq. (2008). The Digital Divide. Youtube. Retrieved November 27, from http://www.youtube.com/watch?v=qz7dw3pLr-U

Stokes, A. (2011). NYU Journalism Student writes about me and the digital divide. Abby & Me. Retrieved November 27, 2012, from http://abbyandme.com/posts/nyu-journalism-student-writes-about-me-and-the-digital-divide

Wikipedia. (2012). Digital divide. Wikipedia: the free encyclopadia. Retrieved November 27, 2012, from http://en.wikipedia.org/wiki/Digital_divide

Wikipedia. (2012). Hype cycle. Wikipedia: the free encyclopadia. Retrieved November 27, 2012, from http://en.wikipedia.org/wiki/Hype_cycle

GAMING CONCEPTS + NON-GAME CONTEXT = GAMIFICATION

GAMING CONCEPTS + NON-GAME CONTEXT = GAMIFICATION

Gamification in the non-game context of Fashion

How is your field using "gamification" and/or virtual and augmented reality to enhance performance in that field?

Using game mechanics and game design techniques in non-game contexts are the key components that make up gamification (Wikipedia, 2012). Technology and gaming implementations enhance the performance and therefore increase profit within many fields. A company, business or person is able to take advantage of a consumer’s psychological predisposition and encourage behaviours of adoption or engagement (Wikipedia, 2012).

SF Fashtech (2012) agrees that “gamification is one of the big drivers for innovation and engagement this year” and insists that the fashion industry is a field that will not be left behind. As always the fashion industry will stay on-trend, in this case with technology by embracing new forms of gamification. However, it is important to note that in the fashion industry it pays to be ahead of the trend. The use of gaming and gamification within the fashion industry is not a new development as online fashion communities like “Chictopia and Lookbook.nu have been using reward systems since they launched back in 2008” (SFFT, 2012). These game design techniques have been embraced by Chictopia especially. Their users are able to earn ‘Chic’ points by “commenting on or posting photos, writing articles, and other activities” (SFFT, 2012). These points can then be redeemed for actual goods therefore enhancing performance by building loyalty and reputation.

Gamification techniques are also being used by location-based services such as Foursquare. Successful fashion designer, Marc Jacobs, not only embraced technology by digitally streaming his runway shows, he also employed Foursquare location service to create the “Fashion Victim” badge (Mashable, 2012). This badge enabled Fashion Week goers to ‘check-in’ at any of the Marc Jacobs stores within America. Four lucky people were then randomly chosen out of those who ‘unlocked’ the badge by checking in and were then given tickets to see the Marc Jacobs show at Fashion Week. This example of the fashion industry utilizing the benefits of gamification cements the need and place for technology to improve performance within fashion.

The games industry is growing rapidly, resulting in its forefront position in many of the most significant new media innovations (Flew, 2008). The fashion industry is constantly using and developing new gamification tools to enhance performance, sales, experience, fan bases and usage.

For example, 3D scanners, interactive mirrors and holographic sales assitants may not be what one first thinks of in relation to shopping but this is precisely the way in which gamification is infiltrating all aspects of the fashion industry.  These techniques are enhancing the fields performance by making the experience of “shopping more enticing and inviting” (Forbes, 2008). Retail stores are installing these interactive fitting rooms to give “customers the opportunity to check available sizes and styles of the items they are trying from inside the fitting room” (Forbes, 2012).

Below is an example of the virtual change room to launch soon at Robina Town Centre (YouTube, 2012).

As well as interactive mirror in change rooms, gamification calls shoppers to wear 3D glasses to view window displays. Australian womens wear store, Sportsgirl, are using 3D displays created by British artist Mat Maitland to attract more consumers to visit stores rather than purchase their goods online (Safe, 2012). Sportsgirl chief executive, Elle Roseby, says “in a challenging retail environment, we are communicating with customers on the go while at the same time delivering a fun and interactive experience” (Safe, 2012).

According to Wikipedia (2012) a ‘virtual reality’ is a “term that applies to computer simulated environments that can simulate physical prescence in places in the real world, as well as in imaginary worlds”. This ‘virtuality’ of a communication connection between people without an actual physical prescence in the space is highlighted through Sportsgirl’s interactive mirrors. Sportsgirl enables their customer to “take a photograph of themselves in their potential new outfit using a reflective digital mirror in the change room, then use the mirror's touchscreen to share the photograph on their own Facebook or Twitter page for feedback from their friends” (Safe, 2012). This use of social media alongside gamification is an example the way marketers are incorporating gamification for customer engagement and to encouraging desirable behaviour (Wikipedia, 2012).

The importance of partnerships between the fashion industry, brands and the tool of gamification is paramount to “drive engagement, buss, and sales (SFFT, 2012). By using gamification alongside virtual reality in the form of technology, the field of fashion and its performance will forever be enhanced. Enter the gamified world of interactive change rooms and 3D window displays and never look back!  

References:

Flew, T. (2008). New Media: An Introduction. South Melbourne, Victoria: Oxford University Press. http://terryflew.com/

Forbes. (2008). Dressing Rooms Of The Future. Forbes.com. Retrieved November 14^th, from http://www.forbes.com/2008/07/22/style-shopping-retailer-forbeslife-cx_jp_0722style.html

Foursquare. (2012). Foursquare. Find great places near you. Retrieved November 14^th, from https://foursquare.com/

Mashable. (2012). How the Fashion Industry Uses Location-based Marketing. Mashable Social Media. Retrieved November 14th, from http://mashable.com/2010/03/22/fashion-location-based/

Safe, G. (2012). Retail’s next dimension demands attention. The Sydney Morning Herald. Retrieved November 14^th, from http://www.smh.com.au/technology/technology-news/retails-next-dimension-demands-attention-20120706-21m98.html

SFFT. (2012). Level Up! Gamification and the Fashion Industry. SF Fashtech. Retrieved November 14th, 2012, from http://www.sffashtech.com/2012/01/31/level-up-gamification-and-the-fashion-industry/

Wikipedia. (2012). Gamification. Wikipedia: The Free Encyclopedia. Retrieved November 14th, 2012, from http://en.wikipedia.org/wiki/Gamification

Wikipedia. (2012). Virtual Reality. Wikipedia: The Free Encyclopedia. Retrieved November 14th, 2012, from http://en.wikipedia.org/wiki/Virtual_reality

YouTube. (2012). Virtual Change Room Launch at Robina Town Centre. Retrieved November 14^th, 2012, from http://www.youtube.com/watch?v=1QqP4pFFuv4

TRANSMEDIA TRENDING

TRANSMEDIA TRENDING: the fashionable story

How likely is it that your profession will be changed through the growth of UGC and/or transmedia story-telling?

This week Digital Media & Society put the theory spotlight on Creative Industries and User-generated Content. Furthermore we investigated the growth of User-generated Content (or UGC) and its relation to transmedia story-telling. This blog post aims to highlight the link between transmedia story-telling and my (future) profession; fashion and fashion journalism. Originally this blog aimed to focus on the likelihood of my profession being changed through the growth of UGC and/or transmedia story-telling. However, I feel the more topical and current approach would be how my profession has already been changed through the growth of these two theories. As I aim to prove evident that the changes to my industry are not just likely but well under way. 

Jenkins (2007) discusses the way transmedia story-telling is a way in which information is “dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.” Jenkins (2007) further adds that each medium individually makes its own unique contribution as elements of a ‘fictional’ story. In relation to the industry of fashion journalism, the UK luxury label Burberry, is currently experimenting with multiple media delivery channels in an effort to create the ultimate purchase experience. Burberry CEO, Angela Ahrendts, wants to “harness technology to spread the word about its creations” (Economist, 2012). Recently Burberry’s share price dropped by 18% leaving creative director, Christopher Bailey, to test drive use of transmedia story-telling by sending models down the catwalk at London Fashion week while also streaming live to Burberry stores and personal laptops (Economist, 2012). The Economist (2012) also reports that Burberry garments are now being fitted “with interactive screens and RFID (radio frequency identification) tags, which mean that customers can flash clothes in front of interactive screens to see how a handbag detail or raincoat lining is made.” Each medium is aimed to individually contribute, in this case to the Burberry image, in a unique way as Jenkins (2007) highlighted as being ideal to “the unfolding of the story”. Ahrendts most controversial turn to technology comes with ‘customer 360’ which will “allow Burberry to record (customers) buying history, shopping preferences and fashion phobias in a digital profile, which can be accessed by sales staff using hand-held tablets” (Economist, 2012). With the many different media devices employed in Burberrys new strategy, it makes sense why transmedia story-telling can also be known as cross-media storytelling (Wikipedia, 2012).

Burberrys Christopher Bailey found himself falling into the category of ‘spreadable media’ using popular user-generated content tool YouTube to promote the live streaming of Burberry’s 2012 collection.

By using these multiple audience entry points (Jenkins, 2007) Burberry inevitably will expand their market as each media device contributed added comprehension.

Flew (2008) specifically refers to user-generated content by the way users are “both remediators and direct producers of new media content” and their engagement in “new forms of large-scale digital media spaces.” Similarly Wikipedia (2012) highlights the way productions of “new technologies that are accessible and affordable to the general public” are a reflection of the expansion of UGC onto applications including “news, gossip and research”. Wikipedia (2012) continues that in reference to UGC, “all digital media technologies are included, such as question-answer databases, digital video, blogging, podcasting, forums, review-sites, social networking, social media, mobile phone photography and wikis." This directly links to the rise of blogging in the world of fashion journalism where transmedia storytelling is key to success. Success built by expanding a fashion journalists personal market by creating multiple audience entry points for a more complete universe.

Fashion journalist and New York Times best selling author, Derek Blasberg, is familiar with the benefits of user-generated content to sell to a digital economy. The likelihood of the fashion journalism profession being changed by the growth of UGC and transmedia story-telling is confirmed with the actions of bloggers like Blasberg. 

A general requirement of user-generated content is to creating online content to provide the facility for amateurs to publish their own content (Wikipedia, 2012). Without further ado I give you; the blog. Blasberg has jumped on the trend with his very own entitled ‘Mr Blasberg’ (2012). This business model of cross media story telling incorporated interviews, opinion pieces, personal/professional photographs and self-made youtube clips. Blasberg recognizes the increasing importance of creative industry to the economic well-being and as Wikipedia (2012) notes that "human creativity is the ultimate economic resource” its no wonder why the best selling author and editor has capitalized on the transmedia trend to dust off his storytelling hat and start blogging.

References:

Blasberg, D. (2012). MY CAMERA IS THE MOST AMAZING PIECE OF CRAP. Mr. Blasberg. Retrieved October 17, from http://www.mrblasberg.com/

Economist. (2012). Burberry Goes Digital. The Economist. Retrieved October 17, 2012, from http://www.economist.com/node/21563353

Flew, T. (2008). New Media: An Introduction. South Melbourne, Victoria: Oxford University Press. http://terryflew.com/

Jenkins, H. (2007). Transmedia Storytelling 101. Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins. Retrieved October 17, from http://henryjenkins.org/2007/03/transmedia_storytelling_101.html

Wikipedia. (2012). Creative Industries. Wikipedia: The Free Encyclopedia. Retrieved October 17, from http://en.wikipedia.org/wiki/Creative_industries

Wikipedia. (2012). User-generated content. Wikipedia: The Free Encyclopedia. Retrieved October 17, from http://en.wikipedia.org/wiki/User-generated_content

Wikipedia. (2012). Transmedia storytelling. Wikipedia: The Free Encyclopedia. Retrieved October 17, from http://en.wikipedia.org/wiki/Transmedia_storytelling

YouTube. (2011). Christopher Bailey: Invitation to Watch Live Stream. YouTube.  Retrieved October 17, from http://www.youtube.com/watch?v=TYScB1uJt5E

YouTube. (2012). Derek Blasberg’s Camera Is An Amazing Piece of Crap. YouTube. Retrieved October 17, from http://www.youtube.com/watch?v=K-6LehBvb7s

KNOWLEDGE WORKERS IN THE FIELD

KNOWLEDGE WORKERS IN THE FIELD

In what way(s) will you be a knowledge worker in your field (or a field of interest)? 

Rouse (2005) defines a knowledge worker as anyone “who works for a living at the tasks of developing or using knowledge”. This seemingly ambiguous definition proves to highlight just how broad the term ‘knowledge worker’ is. This is not to say that the term is difficult to define but rather that the fields in which knowledge workers exist and are being recruited are endless. Needless to say that as my classmates and I pack up our textbooks and clutch our degrees we will be entering a workforce in which we will need to be a knowledge worker.

“Technology marketers target them. Human resources departments recruit them. Management consultants write and talk about them. And too often, organizations segregate them.”

Rosen (2011) is of course referring to knowledge workers.

Parent of the idea, Peter Drucker, coined the term “knowledge worker” and differentiated knowledge workers from manual workers in his 1969 book ‘The Age of Discontinuity’ (Rosen, 2011).  Drucker insisted that new industries must employ and expand the role of knowledge workers as it is a crucial aspect of an information based economy.

Flash forward to 2012. While need to distinguish knowledge workers from manual workers are out-dated, the role of knowledge workers stands alone as a crucial place in our knowledge economy.

The Australian Bureau of Statistics (2004) measured the rise of knowledge works in our society of a knowledge-based economy. Research showed that the number of knowledge workers as “professionals and associate professionals, in particular, have steadily increased” (ABS, 2004).

Wikipedia (2012) includes “software engineers, architects, engineers, scientists and lawyers” as the typical fields known as being knowledge workers. However, when scrolling down the list of knowledge worker attributes it is clear why human resource departments in every field are looking for these same qualities in a graduate like myself.

As I am nearing the end of my degree, the fear of landing a job in my chosen field is steadily increasing. A fear which was only heightened after reading an article by Barbara Ehrenreich (2009) entitled “Welcome to a dying industry, journalism grads”. Ehrenreich (2009) talks of trying to carve out a career in the worst economic downturn since the Great Depression and trying to do so within what appears to be a dying industry. In my opinion, journalism is not a dying industry. It is an industry with a changing format. Like every other field, its turning digital. Our economy is now based on information and knowledge and having the attributes and outlook of a knowledge worker will give journalism grads a competitive edge.

When searching for your competitive edge against peers, the advantage of being a knowledge worker is clear. Knowledge workers benefit organizations in a variety of important ways including their ability to analyse data to establish relationships, identifying and understanding trends, making connections, ability to brainstorm, ability to drill down, creating more focus and creating or modifying a strategy among many other roles (Wikipedia, 2012).

Flew (2008) again highlights the importance of “information, technology, and learning in wealth creation and economic competitiveness” in this knowledge economy. In order to be economically competitive I aim to be a knowledge worker in the field of journalism. The below YouTube video (2010) showcases the opportunities young knowledge workers can create for themselves in their chosen field. 

Wikipedia (2012) notes “identifying and understanding trends” as a key role of being a knowledge worker. Evidence of knowledge workers capitalizing on digitalization in the field of journalism can be seen with the rise of news apps. Today, one would be hard pressed to find a student who did not source their news primarily online. I personally source all my news and information through ‘apps’ on my iPad. With employment of knowledge workers and forward thinking, UK news website Mail Online (2012) has capitalized on the news app craze and made their own free Mail Online app for ipads and iphones. 

In addition, the forum of online blogs (like this one) are “blurring lines between mainstream and social media” (City Caucus, 2012) resulting in another example of journalism using knowledge workers to revive the field. The shift and acceptance of blogs as a format for journalist have become increasingly popular in recent years. Peter Horrocks, the new director of BBC, can be viewed as a knowledge worker as in his first two weeks at BBC told journalists to use social media (like twitter or facebook) as a primary source or leave (Journoggers, 2010).

For someone who treats their iPad as another limb, news apps as morning routine and blog articles as a daily ritual, eager to join the knowledge economy is an understatement. Sign me up as a knowledge worker in the ever new and improving field of journalism. 

References:

ABS. (2004). Measures of a knowledge-based economy and society. Australian Bureau of Statistics. Retrieved October 10, 2012, from, http://www.abs.gov.au/Ausstats/abs@.nsf/0/A46E142F20B029A9CA25719600166DFF?opendocument

App Storm. (2010). Top 20 Informative iphone news apps. Retrieved October 10, 2012, from, http://iphone.appstorm.net/roundups/lifestyle-roundups/top-20-informative-iphone-news-apps/

City Caucus. (2012). Blogs are not the new journalism. Retrieved October 10, 2012, from http://citycaucus.com/2012/06/blogs-not-journalism/

Ehrenreich, B. (2009). Welcome to a dying industry, journalism grads. San Francisco Chronicle. SF Gate. Retrieved October 10, 2012, from, http://www.sfgate.com/opinion/article/Welcome-to-a-dying-industry-journalism-grads-3230852.php

Flew, T. (2008). New Media: An Introduction. South Melbourne, Victoria: Oxford University Press.

The Gaurdian. (2012). 9 Top Tips for the journalists of tomorrow. Retrieved October 10, 2012, from http://www.guardian.co.uk/media-network/media-network-blog/2012/may/02/journalism-future-top-tips-career

Journoggers. (2010). Journalists that blog. Retrieved October 10, 2012, from http://laurelpapworth.com/bbc-says-use-social-media-or-leave/

Mail Online. (2012) It’s the App you’ve all been waiting for…Try it for FREE! Retrieved October 10, 2012, from http://www.dailymail.co.uk/home/article-1324833/MailOnline-iPhone-app--Download-try-FREE.html

Regisuniversityscis. (2010). Opportunities for Knowledge Workers. Retrieved October 10, 2012, from http://www.youtube.com/watch?v=oDfogH9G8Ys

Rosen, E. (2011). Every Worker Is A Knowledge Worker. Bloomberg Businessweek: Companies & Industries. Retrieved October 10, 2012, from http://www.businessweek.com/managing/content/jan2011/ca20110110_985915.htm

Rouse, M. (2005). Definition Knowledge Worker. Search CRM. Retrieved October 10, 2012, from http://searchcrm.techtarget.com/definition/knowledge-worker

Wikipedia. (2012). Knowledge Worker. Wikipedia. Retrieved October 10, 2012, from http://en.wikipedia.org/wiki/Knowledge_worker

T3. (2011). Best news apps video. Retrieved October 10, 2012, from http://www.youtube.com/watch?v=ZpiOdgzWcbo