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