Week 10: Who are you dating online?

Have you ever tried online dating? Including platforms such as Tinder, Bumble, Happn or OkCupid. Don’t lie… Studies show that 10% of the Australian population used the Tinder service in 2014!

With an explosion of the online dating realm worldwide, the public has become increasingly aware of the authenticity of persona’s on the internet, where anonymity in the online space has allowed individuals to present themselves differently to how they are truly represented (Moore, C 2016).

We are constantly forced to create profiles and logins for each service we use, allowing us to enhance our personality, looks and qualifications to impress other nodes in the network (both human and non-human). The ability to ‘put on a mask’ and adopt a different role in society has become a craze, in which consumers who utilise online dating services and deem themselves unattractive are more likely to enhance their profile photographs and lie about their physical descriptors (height, weight, age). Below I have created a step by step guide to creating your own fake profile:

Steps to Create a Fake Profile

Similar to bots, the anonymity of online dating services as an intercommunication tool has brought much benefit, including protecting user privacy and free speech, it also poses considerable security threats to online activities. Upon further research I discovered the “FaceTrust” platform, which uses social tagging to obtain credibility of online persona’s.

Are you questioning your online relationship now?


Week 9: Journey as a Journalist

Today, I have the inevitable task of scrolling through my social media feed to discover something travel related, leaving me wanderlust and wondering which location I plan to visit next…

Tourism Journalism: The new way to collect, disseminate and analyse all things TRAVEL to the general public by means of the internet. Oh, did I mention you can TRAVEL?

Not only has citizen journalism been a transformational shift for news reporters (more specifically significant world events), it has been momentous for the travel and tourism industry, where social media participation is critical for tourism businesses in becoming the primary way to connect with today’s customers. Travel journalists utilize platforms such as Facebook, Twitter, Instagram, and travel blogs to distribute content on a regular basis to a wide audience (collective intelligence), overall reducing high cost of entry, high risk and a quality filter.

What this has created is a participatory culture, where tourism journalists can offer suggestions based on prior experience, whilst receiving feedback and overall enhancing a tourist’s travel experience – by making travel planning and budgeting much easier. Previously formed on a basis of ‘traditional journalism’,the control has now shifted from a centralised and institutional media approach (Travel Agents) to one that is much more diverse, allowing for a wide variety of content, from a extensive list of locations, by a multiplicity of individuals.


As feared by Jurrat (2011), professionalism has been undermined in the new realm of citizen journalism, where too much importance is placed on personal accounts and likability. This is exemplified by an LA tourist posing for a picture in a ‘hipster hang-out’ location in front of a homeless man.

Week 7: You are invited to create

Above is compilation of ‘The Simpsons’ and ‘America’s Next Top Model’ that I used to create a succinct fictional world in which interrelated characters could interact. Although this was seen as an activity of pure enjoyment, wouldn’t it be great if we were invited by large conglomerates to produce content. I mean, we do it anyway right? But, what if we were rewarded, encouraged and valued to expand on their brands stories?

Up until now, marketing consisted of developing valuable content that users wanted instead of what users could create. With the ever-expanding convergence culture and multi-device world, the role of the filmmaker has changed significantly. We are the modern day narrators, by taking content and applying our knowledge, creativity and personalisation to deliver a unique entertainment experience.

Ultimately, this new industry has been developed to deal with convergence, where synergy is met by encouraging all-users and participants to contribute to world-building. Everyday people like ourselves can take ‘The Canon’ (official content) and turn it into ‘The Fandom’ (user-generated content), by utilising different mediums and platforms to extend on the already created fictional world.

Take Dorito’s for example, who encouraged fans to create their own commercial for the SuperBowl.

I love the interaction between the corporation and the audience! Where Dorito’s has created different points of entry and encouraged a broad range of participants to highlight their skills. Today, content is marketing and marketing is content. Large brands and multi-national organisations are utilising prosumers and their creations to expand on new worlds and attracts broader audiences. Here are a few examples!


Week 6: Mind-Craft


When the idea was first exposed to me, I assumed that craft and digital making encompassed pretty much everything that was created using online tools – from a quick tweet to designing an online game. However, after thorough research the terms mean much more, where the creative process of designing digital artefacts involves passion, purpose, risk, interest and a love for what is being created. Katie Bunnell defines this perfectly..

“The skilled and sensitive human interaction with technology that is involved in poetic object making is arguably central to the maker’s art. A direct relationship with tools enables the maker to engage intimately with materials and process to create finished objects with a high degree of autonomy and control over quality” 

It is here where the creation of such ideas and products allows for a unique experience, where ‘boundaries are boundless’ and the freedom of digital making has connected and taught us more about the real world, then the real world actually has. Ultimately causing the prosumers and audience to think and experiment on a much deeper level.

Funnily enough, I got completely lost and blown away when searching for digital crafts. Why haven’t I come up with something cool like these?

  1. Japanese Horse Racing 
  2. Marvel in Grand Theft Auto Hack 
  3. E-Ink Tattoo 
  4. Keeping Up With The Kardashians Remake 
  5. Black Dice and Animal Collective http://thecreatorsproject.vice.com/animal-collective/black-dice-animal-collective
  6. Artist: Sarah Ludy http://topicalcream.info/editorial/vapors/
  7. Artist: Rosa Menkman http://rosa-menkman.blogspot.com.au/

Week 5: Superman 2.0 – Helping the world one click at a time

“Oh you watched a 30minute Kony video? You must be a social activist!”

Have you ever felt empowered when signing a petition online, sharing a video about a cause, liked a non-for profit organisation, changed your profile picture to reflect a movement, used an advocacy hashtag? I certainly have until now.


The convergence culture has emerged as one of participation, where prosumers are able to interact with political unrest, social tension and charitable organisations through mediums such as Facebook, Twitter, Instagram and YouTube. So have we become more connected or disconnected? Whilst raising awareness and proving ‘the power of the movement’, such as the Egypt Revolution in 2011, these acts of heroism do little to aid the route of the problem, where they have created distractions from the real issues at heart.

We are the new audience known as slacktivists. Where platforms have become the centre for launching activist campaigns, in which individuals can broadcast to an entire network using little time or involvement. Although it may seem like an act of citizen journalism, ’employing press tools in possession to inform one another’, slacktivism is an act of of feeling valiant, included, supportive and empowered. Take a look at my presentation below to see if you are a Superman 2.0?


Week 3: Mickey gives the A-O-K to Netflix & Chill

Do you like to Netflix and Chill? Netflix was not such a ‘chilled’ introduction for the Hollywood economy.

Much like Amanda Hocking, Marc Randolph and Reed Hastings saw a need in the digital market, where the use of the internet and online streaming was undoubtedly useful for the convergence culture – however had detrimental revenue effects for the producers. With large media conglomerates, such as Disney, 20th Century Fox, Universal Studio’s and Warner Brothers struggling with scalability and unpredictability of their blockbuster hits, the new platform offered unbeatable distribution and market access.


This was a new, exciting and terrifying opportunity that required balance on behalf of both the traditionalist film industry and emerging digital technologies. Netflix needed the Studios and the Studios needed Netflix. In order to be successful however, required two changes – artists and creators must embrace the idea of free access and businesses should seize opportunity, enabling it and allowing it to grow.

With intellectual property rights as a main concern, it was vital that both producers maintained contracts enclosing details of intellectual property rights, distribution and content creation.