Monday, September 7, 2015

Post 3: Defining audience; history of audience research; death of the mass audience

Post 3: Defining audience; history of audience research; death of the mass audience

 First, it is interesting to see how the term "audience" has evolved throughout history. I have been so focused on audiences as consumers and as audiences online that it was refreshing to read about audiences in Greco-Roman times and onwards of books, magazines, newspapers, radio, cinema and television. As McQuail explains in Ch. 1, the meaning of audience has evolved over time due to technological advancements. Whereas audiences were considered to be passive listeners, now:

"The typical audience role can cease to be that of passive listeners, consumers, receiver, or target. Instead it will encompass any of the following: seeker; consultant; browser, respondent; interlocutor; or conversationalist."

This is certainly revolutionary considering how the term first originated to describe attendees at a live performance. McQuail also mentions that due to overload, a higher level of media exposure which leads to a lower quality of attention, and fragmentation, a process where audience's attention is spread out amongst multiple media sources, audiences are no longer collective. All choices are seen as individualizing with a decreased chance of shared experiences or a sense of common belonging. However, I argue that due to the advancement in technology, audiences are sharing more experiences and expressing more common interest than ever before.  According to Google Now Indexes, there are 620 Million Facebook Groups among the 1.19 Billion active Facebook users. Platforms like Instagram and Twitter serve to collect people who share the same ideas or hashtags, and helps people who "follow" the same page to gather to share common ideas. Social media has the unique position of helping audiences become more individualized as an audiences through personalization and complete control of one's account. However, it also has the underlying purpose of having each account interact with one another for both social and commercial purposes. People gather to form groups according to their interests, such as a facebook group for class or an interest group for food-lovers, which is a sharing of ideas and a sense of common belonging. 

Furthermore, contrary to what McQuail stated, audiences are not "more dependent on, and more vulnerable to, powerful media suppliers than before," nor do they "have no more power than consumers in any other market." Audiences are now more powerful than ever and have advertisers at their fingertip especially due to information overload and audience fragmentation. Audiences have grown smart with banner blindness, devices that filter advertisements, spam boxes, caller ID, etc. so they have becoming increasingly difficult to reach. For advertisers who have to influence attitudes and purchasing decisions, audiences can never be without power. Advertisers have adapted accordingly to changes in technology and have shifted their ad dollars to social media and viral campaigns. Therefore, the end of a mass audience does not seem likely.

Finally, in Ch. 8, McQuail offers an interesting model for four stages of audience fragmentation:



I believe we have just recently reached the Core-Periphery Model and believe the Breakup Model will never happen. Although the emergence of new television channels and networks have started to occur, theses networks still serve a mainstream purpose in one way or another. We will never escape the "core" as mainstreaming will exist as long as cultures, of any kind, are shared. Therefore, unless the world comes to a point where audiences have absolutely nothing to share with one another, audiences will hover somewhere between the Pluralism and Core-Perifry Model.  

As was the purpose of these three chapters, I liked the reviewing of the term audience and seeing the new variables that have been added to the tradition term. It is evident that the term will continue to evolve with time and hope to gain a full understanding of what audiences today mean.

Sunday, September 6, 2015

Response to Ch. 1, 8, 9 of Audience Analysis by McQuail

The book chapters served as a good introduction to the topics we will be diving into, and I especially liked how chapter eight gave us a good explanation of what was (and is) happening to the audiences and how chapter nine looked at the future of new media audiences.

In chapter eight, the concepts of audience segmentation and fragmentation made a lot of sense when applied to new media, especially in looking at the lowered "quality" of attention as the media exposure increases (pg. 132). I am intrigued by the idea that the trends give power to the audience as they reduce power of the media, especially on pages 135-136 where the author writes

The media themselves may not be so concerned about the reduced "quality" of the relationship with audiences, because the numbers are what matter most. However, for ... advocates of all kinds who want to influence behavior and opinion, the emerging media situation does represent a potential problem. Much greater ingenuity is now required to catch attention and engage an audience.

I got hung up on this quality vs quantity statement and am curious whether this is truly the case when it comes to how new media content producers view their audiences. I know the number of likes and page views is important, I'm curious to what level quality is still emphasized.

A lot of what the author covered in chapter nine reminded me of an article (Questions are the new Comments) recently published where they challenge newsrooms to re-think how coverage is handled- Mainly by understand the role of the new audience and how much more active they are.

They write how the traditional passive audience doesn't get involved until the story has been completely produced and published, and their role increases as the author(s) roles decrease:

https://medium.com/matter-driven-narrative/questions-are-the-new-comments-5169d0b2c66f


However, their suggested model takes into account this new version of an audience that McQuail writes about and puts their involvement much earlier in the process in what they call the "Public-powered story cycle" (might as well be the "Audience-powered story cycle"):

https://medium.com/matter-driven-narrative/questions-are-the-new-comments-5169d0b2c66f

I feel this is what McQuail is referring to when he writes that new electronic media "opens up new possibilities for active relations between senders and receivers" (147). While the Public-powered story cycle could certainly have worked in traditional media, new media allows for it to occur much more easily and hopefully in a way that captures the attention of the fragmented and segmented new media audience.

Wednesday, September 2, 2015

Managing my own audiences

To me, “my audiences” mean the people, subjects, participants and/or respondents of my study as my research interests revolve around transnational media culture and audience reception studies in international settings. I was, at first, amazed at the ways in which Western audiences consume and understand (and/or misunderstand) K-pop (Korean pop music) videos on YouTube. This eventually led me to delve into exploring and analyzing Western audiences’ interpretation of K-pop videos.

I’m still in the very beginning stage of this research project, but I found some K-pop video reaction clips on YouTube: https://www.youtube.com/watch?v=ekJ-ldOD0TQ.
Most of the Western audiences do not understand why some scenes of the music videos are filmed in certain ways. This is mainly because they don’t understand the language, hence the lyrics, and because they relatively don’t share cultural proximity (Straubhaar, 1991) than Korea’s neighboring countries. I consider some of the main reasons behind this lack of contextual understanding as the inability of understanding the language of the lyrics and not being familiar with the culture. In fact, scenes where these audiences consider “weird” or “what’s that” kind of reactions are filmed in ways that match with the lyrics.
One example can be found at 2:34 of the above link when a white guy thinks the female singer is singing “I got a boy on my chin” when actually she’s saying “I got a boy mutjin (meaning handsome or cool).”

As of 2011 (far before Psy’s “Gangnam Style” came out), K-pop videos already surpassed a collective of over 1 billion views on YouTube. However, Western audiences’ misunderstanding and misinterpreting of K-pop videos can be found in many YouTube reaction clips. For example, two British girls are in a complete shock mainly because they don’t understand the lyrics: https://www.youtube.com/watch?v=OtfEXglUvw0, https://www.youtube.com/watch?v=6XQfKT-qXT4. Three American audiences are completely puzzled at some of the scenes because they don’t know that, in fact, those scenes are actually based on the lyrics: https://www.youtube.com/watch?v=V5_l7d2CkG8, https://www.youtube.com/watch?v=GcGj6S_G-uQ

Some scholars declare the end of the Information Society and the emergent of the Dream Society of icon and aesthetic experience. Whereas letters (alphabets) were a main medium for the former one, images (photos, visual content) are the main medium in the latter one (Dator & Seo, 2004). What they both have in common, however, is that both mediums are media cultural texts. I’m curious to see in the era of the so-called globalization filled with the hybridity of transnational media culture, how informed audiences can be when it comes to consuming and interpreting foreign media content.

References:
Dator, J & Seo, Y. (2004). Korea as the wave of a future: The emerging dream society of icon and aesthetic experience. Journal of Future Studies, 9, 31-44.
 

Visualizing My Audience Data (Krishnan)


While I probably check Facebook more frequently than Instagram/Twitter, I value the connections I've fostered on the latter two platforms more. There are some excellent free statistical tools out there that allow you to visualize your social media data. Twitter has its own analytics engine and Iconosquare, a third party app analyzes your Instagram account for free (though strings are most certainly attached). Below is some analysis I found interesting about my audiences.

1.) Iconosquare allows me to see my most liked posts versus my most commented on posts. Only 3 posts were in the top 10 of both most liked and most commented on. My likes appear to plateau at around 30 likes per photo, but I have a consistent amount of photos with at least twenty likes. I'm averaging about 4 likes a photo, which I think is pretty weak (3689 likes for about 516 photos). However, my comments game is even weaker. The most comments my photos have received is 14, then only single digits. I am only receiving likes and comments from audiences I allow to follow me, so I am probably losing out (potentially) on audiences who would find my photos through hashtags and by seeing what their friends' are liking. Finally, out of the top 10 photos for both most liked/commented, only two are "professional photos," and the rest are just personal photos. I realize looking at this, I intersperse photos I take time to take with a barrage of personal photos, so I wonder if I am confusing my audiences.









2.) I thought this visualization is interesting b/c it allows me to see who is most engaged with my work. They choose to do this through likes. This snapshot is from May-July (my Iconosquare hasn't been updated since then). Out of the 10 people on this list only 1 is a professional contact and the rest are friends. I wonder if I was to take my Instagram more seriously and post photos from places I do visual reporting, if that will impact my engagement with professional-friend audiences. I am also interested in seeing the long tail of my likes for each photo, to see how certain photos engage the less engaged followers on my list.





3.) Stats can be very misleading. I did not tweet at all in 2014 and have tweeted a few times in the last couple weeks. Some of those tweets have been favorited or retweeted (hence the 1,794 tweet impressions and nearly 700% growth). My followers also increased by 29 people in the last month but most of the mare my new students. My audiences are mostly professional friends and acquaintances and most of my Twitter content is professional. Unlike Instagram I keep my Twitter feed mostly de-personalized. Though I have a larger audience on Twitter, I would say I have more impact per person via Instagram. I use Instagram more frequently and with a smaller group of people who know me better than most of my Twitter followers.


My Online Audience

My online audience is mainly on Facebook, where I currently have around 240 friends. I engage with them by liking some of their posts, commenting from time to time, and exchanging private messages. As Facebook allows me to see which messages have been seen by the relevant users, it is a useful way to track the communication, especially in group conversations. I also have an academic audience, as I have recently found out that a journal that published my article presents a list of “the most read” articles. The ranking is calculated at the beginning of the month and is based on full-text and pdf views. While I do not know how many users viewed my article and who they are, I can see how “popular” it is. The article still appears on this list. In addition, I have a small audience here, and the blog allows me to monitor how many users have seen my post :)

Week 2: Measuring our own new media audiences

My audience measurement is casual and the method depends on the platform.

For Instagram and Twitter, I use CrowdFire to track who has followed and unfollowed me. I check this approximately once a week. The main purpose is to better curate my own list of people who I follow. If a random account follows me, I usually wait a week or two before following back to see if they stay a follower or if they are just spamming random accounts to get follow-backs.

Or, if someone I follow unfollows me, I use that as a reason to remove them from my own list. It feels narcissistic at times but I want to make sure that whatever time I devote to social media is spent with people I care about and not mindless scrolling.

CrowdFire "Recent Unfollowers" on my Instagram account



I used to be a fairly active user of Klout but it was mainly because they would offer perks based on your social media influence. But it can be an interesting way to measure influence across all social platforms. Which audience is more engaged? According to Klout, it's my Facebook audience (51% network contribution).

Klout dashboard

Finally, on my portfolio web site, I use Google Analytics to occasionally check in on my audience. It's currently a mostly-static site, so there aren't any conversion goals or expectations. The referrals have gotten spammy lately so it's hard to really place value in the analytics without refining. But it's still interesting to look at where my traffic is coming from. My photo blog has been dormant for a few months, but when it was active I would check in monthly to see where traffic was coming from.

Google Analytics Monthly Traffic Overview March-September 2015



Exercise 2: Start Managing Your Own Audiences

My most frequently used social media platform is Facebook. Although I have 1,180 facebook friends, I can't say with confidence that they are my audience. With different options and settings, one can easily avoid seeing content from a particular individual or choose to closely follow an individual. Also, many facebook accounts could no longer be in use or even if the facebook account is very active, the timeline could display newsfeed only for a close circle of friends.

Therefore, I have yet to manage my audience because I don't have a complete grasp of who my audience is. Sometimes, friends that I haven't seen in years randomly like my posts while friends that I interact with everyday do not. I do not know who is seeing my posts. For example, when interacting with people in person, they mention seeing my post but they did not leave any traces in likes or comments so I had no idea that they  had  seen my post. Also, reminiscing upon past years, facebook used to be "Just for friends" where individuals could only see the content uploaded by their friends. However, now facebook forces people to see advertisements, posts that friends are seeing, etc. and have created an entertainment overload. Instead of acquiring an account to keep in touch with friends, one could have zero friends but facebook surf for hours. People that I don't even know could be my audience.


In conclusion, although it is essential to know who your audience, it is difficult to determine who my audience is. Therefore learning audience measurement in social media and the psychology of digital media audiences later on in the semester would be immensely helpful.