Digital Artifact and Contextual Essay

You can download the Digital Artifact PDF by clicking this link.

Individual pages of the Digital Artifact PDF

Contextual Essay

“A crash Course in Social Media for the time-poor small business!” is a digital PDF mini-guide for people who are interested in or who have start a small business either as a business entity, a freelancer, or a sole trader. The original intention for this digital artifact was for it to be a series of short videos, however due to the density of the subject matter and the amount of text, the decision was made for to be presented in this alternative format.

In this mini-guide I have collated a series of tips and advice on how to effectively optimize your early business practices in a way that is suitable for future content creation on various social media platforms. This guide is intended to be a great way to line out the groundwork and set strong foundations for anticipating growth with social media for anyone looking into running their own social media accounts. It aims to simplify the process of choosing platforms and creating content in an easy-to-follow format.

This guide is not meant to be too in-depth or comprehensive, and as such gives generalised advice. It encourages the reader to do their own market research and their own planning to boost their social media visibility and gain confidence in independent content management. As it was originally intended to be series of videos, the early stages of the artifact were divided into separate categories. This enabled the guide to be formatted clearly with little to no unnecessary content.

In addition to the foreword and conclusion pages, the main content body is divided into three subcategories: Identity, market, and content. I have chosen to format the artifact in this way to create a clear path through the material. The guide advises that the information and advice within is best followed in order, as each sub-category contains steps that will help in the next ones. Each sub-category has three points of advice with a simple heading preceding each one. This makes the information easier to reference as well as remember.

The guide also uses the #FIST methodology as a starting point to most of the advice given within the text. Throughout the guide the principles of the FIST methodology are reiterated as a constant reminder to the reader not to become overwhelmed. When writing the guide – which was originally to be the transcript of the videos I was going to create – I also followed the subject mantra of “the medium is the message”, using this as my own guideline for the content.

The design combines bright and muted colours of the Pantone 2017 “Greenery” colour palette entitled Transitions. This is a modern colour palette paired with bold and simple fonts to ensure the content is easy to read and easy to follow. I avoided the use of graphical images to emphasize the content itself.

Throughout the creation of the mini-guide I relied heavily upon my own experiences with the subject matter presented to formulate the advice given, and as such there are very few references used. There are also no references in the text itself however the list below includes some resources that I have read throughout the semester and may have influenced the content in the artifact.

 

Reference list

BirdBrain. 2017. Top 10 Social Media Tips for Small Businesses | BirdBrain. [ONLINE] Available at: https://www.birdbrain.com.au/blog/top-10-social-media-tips-small-businesses/. [Accessed 22 June 2017].

Building The Agile Business. 2017. FIST – Fast, Inexpensive, Simple, Tiny – Building The Agile Business. [ONLINE] Available at: http://agilebusinessmanifesto.com/agilebusiness/fist-fast-inexpensive-simple-tiny/. [Accessed 22 June 2017].

Sprout Social. 2017. Social Media Demographics for Marketers | Sprout Social. [ONLINE] Available at: https://sproutsocial.com/insights/new-social-media-demographics/. [Accessed 22 June 2017].

Use social media to boost business | Business Victoria . 2017. Use social media to boost business | Business Victoria . [ONLINE] Available at: http://www.business.vic.gov.au/marketing-sales-and-online/online-business-and-technology/social-media-for-business/using-social-media-to-boost-business. [Accessed 22 June 2017].

Using social media to market your business: the basics | Business Queensland. 2017. Using social media to market your business: the basics | Business Queensland. [ONLINE] Available at: https://www.business.qld.gov.au/running-business/marketing-sales/marketing-promotion/online-marketing/social-media. [Accessed 22 June 2017].

 

[Week 11] Online Persona and Stuff that Tweets

Boy did I open a can of worms for my final blog post. This weeks topic was a guest lecture by Dr Christopher Moore, who I have for my DIGC335 class. We were to examine celebrity practice on Twitter, the micro-celebrity as a concept, as well as analyse the impact and activities of non-human Twitter users, such as bots and AIs.

I enlisted the help of two of my friends and my partner (respectively) – Stephen, Janessa, and Orien. Together we took part in a 40 minute podcast (way longer than the 5 minutes I was hoping for) with a series of questions. It was a two parter, firstly looking at our own use of Twitter, and secondly, the use of celebrities and the non-human, and looking at the impact this may have for the future. Feel free to click below to listen if you’d like 40 minutes of background noise.

For your convenience, I will unpack the conversation that we had and summarise some of the main points that followed the questions that were asked.

Analyising your own Online Persona:

What does twitter mean to you?

There seem to be a few reasons twitter is used – as a glorified news outlet, to analyse trends, as a microblogging platform, to communicate and socialise – and of course, to shitpost.

Barak Obama’s brother apparently enjoys shitposting on Twitter.

Your own twitter activity:

We found that none of us actually have any decent interactions on Twitter – Orien doesn’t even have an account. We concluded that none of us have really taken the platform seriously. Looking at our ‘impressions’ we noticed that none of us were really being noticed.

We also discovered what an impression actually was.

“In Union Metrics Twitter reporting, we define reach as the total number of estimated unique Twitter users that tweets about the search term were delivered to. Exposure is the total number of times tweets about the search term were delivered to Twitter streams, or the number of overall potential impressions generated.
When we say “impression”, we mean that a tweet has been delivered to the Twitter stream of a particular account. Not everyone who receives a tweet will read it, so you should consider this a measure of potential impressions. Both reach and impressions should be treated as directional metrics to give you an idea of the overall exposure the tracked term received. Use these metrics to get a sense of the size of your potential audience, and use engagement metrics like retweets, clicks and replies to gain a more complete understanding of your impact.”

Union Metrics Support

reach_vs_exposure
https://unionmetrics.zendesk.com/hc/en-us/articles/201201636-What-do-you-mean-by-Twitter-reach-exposure-and-impressions-

We also talked about what we could change in our own Twitter activity, hypothetically. Popularity was a common preference – to do so, we’d need to tweet more regularly, use appropriate hashtags, or hit the jackpot by befriending a celebrity and having them sack their legions of fans upon us for follows.

Valuing Twitter celebrities, as well as celebrities on Twitter:

When discussing what makes a celebrity popular on Twitter, we reached a rather unanimous conclusion – that the value of a celebrity on Twitter lies within humanising these people who’s lifestyles seem so foreign to our own. We’ve been given a platform to communicate with them, to reach out to them, and perhaps even be noticed by them as well. On the flip side – it’s also easier to evaluate a celebrities worth by observing their true colours; we can quickly discern whether or not a celebrity is genuine – or genuinely a twat.

Damaging or helpful effects of mini celebrities:

We quickly discovered that Twitter can be a direct influence on making or breaking a person’s career, or even life – whether they were famous or not. Without these platforms, no one would know that Jaden Smith was a nutcase, for example.

s00ep8d

However there have been instances of celebrities destroying their careers from things they’ve said on Twitter. Here is a whole list of them. There are also examples of celebrities weighing in on a debate with another person or celebrity, and either accidentally or intentionally sending their fans to rabidly attack the other party, as well as their supporters – which we could even put down to cult-like behaviour of people worshipping their ‘Twitter God’.

It could be argued that this isn’t necessarily a bad outcome, however – with Orien saying that it’s good that we have a way of discovering who these people really are, and taking away their fame as a platform for their controversial and potentially harmful or malicious opinions.

d5b

However, praise was also allocated to the platform for its potential for good: it can be a source for unbiased facts or alternative views, or for setting hashtags to go viral for the greater good, and to promote some generally wholesome content.

tumblr_inline_nz1mi1kao31tvq1n4_500

Looking at the non-human:

Unfortunately, we didn’t have many non-human instances of twitter accounts to name off the top of our heads. I made mention of a few bot accounts that I have following me, which actively search for #stream #streaming and #twitch hashtags in my tweets, to re-tweet to people following those accounts, in order to give my stream exposure a boost.

Innocently, there are other bot accounts that monitor RSS feeds to deliver news or weather updates.

The other account that could now be considered synonymous with Twitter AIs is Microsoft’s Tay – for those not in the know, this will catch you up quite quickly.

In looking at the general maliciousness that we discovered in humans interacting with Tay, we quickly came to the conclusion that humans are generally shitty, and would not hesitate to use AI in other malicious forms – such as bullying or online harassment. For example, setting up a series of Twitter bots to target someone online and spam them with horrible images and links. Bots and AIs are a tool – and it is up to the person to decide what they do with it.

A hypothetical that was considered was the use of AI and bots for the future, particularly on Twitter. We mused at the concept of a completely unbiased source of news from bots that only analyse the facts, with no journalistic spin. Unfortunately, that seems to be way off in the future.

 

[Week 10] Trajectories of convergence III: hardware platforms, permissions, and ideologies

This will be another short post. Next week’s will be longer, I promise. I’m going to briefly look at two points from this week’s topic.

We are in the medium.

giphy (1)
I blame a late-night caffeine binge for this craziness in this week’s giphy gif. I’m so, so sorry.

 

The above gif, if you don’t know, is set to The Beatle’s I am the Walrus, and sort of begins to make sense when you think of the way that technology has evolved to be constantly connected, constantly working and constantly producing. There are now more mobile devices than people in the world today. So it only makes sense to assume that because of how connected we are to a device that has become an extension of ourselves, our personas, and our lifestyles, that we are also trapped in our own cage of the Medium being the Message. One could argue that with our dependence on mobile technologies, humans have essentially become cyborgs.

However with being constantly connected there are some points to consider – for example, the degree of freedom that comes with our connection, and what we are able to do with our devices, and our mediums. To put it simply, I will use the example of the Apple iOS devices comparatively with Android devices.

The Price of Being a Cyborg.

It’s no secret that the two share a common goal: to connect the world. At their very core, the iPhones and the Android phones perform the same basic tasks. That said, one would argue that the degree of freedom given by Android phones would be greater than that of the iPhones; Android services and PCs largely support open-source software, and anyone is free to look at the source code of Android services in order to improve the service or to create products that cater to it. Apple, however, has a tendency to be very closed and secretive about their products. They are not fond of other people repairing their products and deliberately make it hard for them to do so, they do not release their software or iOS code for developers freely, and often relentlessly pursue anyone who chooses to ignore their terms of service to do the above.

The below 10-minute video pretty much sums up the above.

This to me is rather important to consider – because it is about control. For some people, the allure of simplicity comes at the price of your autonomy. Our digital world is constantly threatened by our freedoms being taken away – for example, net neutrality being the flavour of the month (or year, rather) in order to control the way we consume our media. This is becoming increasingly worrisome.

Personally, I love open source materials, mostly because you have an ability to make it as simple as you want to. You are not governed by a multi-million dollar company to use the product in only the way that they deem legal. While my operating system of choice is Windows, I would rather use linux that iOS. I own an android and a windows phone, and have never owned an iPhone, simply because of the principle of it: I am independent and I would like to keep my degree of freedom to browse and to consume and to create as open as possible.

[Week 9] Transmedia stories: from blockbusters to hybrid and distributed content

This weeks topic will be kept brief: Transmedia storytelling through multiple media platforms. Here is a quick video to catch you up on the concept before talking about it.

If I were to say that the world’s biggest entertainment franchises gained their power by engaging in transmedia practice, I would have quite the impressive repertoire of examples to back me up. Looking up a top 10 list of the highest grossing movie franchises of all time, for example, gives me 10 franchises that have all engaged in transmedia practice at some point of time:

  • The Marvel Cinematic universe:
    • Starting out as a series of comic books, then going on to feature in graphic novels, games, a 9-billion-dollar movie franchise series, spin-off cartoons, the list goes on.
  • Harry Potter:
    • 7 books turned into 8 movies grossing over 1 billion dollars. After the book franchise was complete, the Pottermore.com website engaged the audience with more interactive short stories of the Harry Potter universe. The franchise also boasts games, theme parks, and even plays such as Harry Potter and the Cursed Child.
  • James Bond:
    • A franchise worth over 6-billion dollars, with a huge list of films, games, books and short stories set in the universe.

I could go on, but the linked article explains more than I have the time for.

ca_starchart_11-29-2016
The Star Wars universe is similarly huge and cross-media.

What makes transmedia so effective?

People love to engage with their interests, and are always wanting new ways to interact with their favourite topics and hobbies. By taking a franchise and stretching it across several different media types to engage with audiences across many different hobbies. It would allow audiences usually engaged with a single hobby to then consume content created on a different platform to enrich the experience and immerse themselves in the universe.

MeanGirls-Tribes-2
My GIFt (hah) for you this week – taking the high school tribes from Mean Girls and turning them into social media platforms.

The same theory could also be applied to social media – and is something I’d like to look at in my upcoming digital artifact. In order to boost popularity, transparency, and engagement, a business or entity can engage across multiple social media platforms; and if they are careful in curating content specifically for those platforms to avoid re-releasing the same content on each platform, they are able to boost their engagement with audiences to sell their product. For example – if you create content for Facebook, you want to avoid sharing that content an all social media platforms you are active on, so that you wouldn’t make your presence on those platforms obsolete. You would be giving a reason for your audience to engage you across multiple platforms to increase your visibility, but at the same time, you are not isolating anyone for sticking with their preferred platform.