Online communication week 1 to 3

This course explores various aspects of technical communication, workplace communication as well as
the role of communication in persuading audience in different professional as well as personal
communication. Particularly because during the digital modes of communication, the boundaries between
the two have become continually porous. Additionally, the course also investigates the impact of digital
communication on society, focusing on topics such as artificial intelligence, social media, digital ethics
and the gender gap in online spaces. Computer mediated communication or CMC is a pivotal topic in a
course on communication in the digital age as it plays a central role in how individuals, organizations and
even societies interact and convey messages in the digital times nowadays. In the context of a course on
communication in the digital age, the significance of CMC becomes evident in several ways. CMC
represents the digital transformation of communication encompassing platforms like social media, email
and video conferencing which are now integral to communication. Digital means have led to the
proliferation of communication channels, presenting both challenges and opportunities to the participants
to learn to adapt their strategies for interpersonal and impersonal interactions. Furthermore, the course
also scrutinizes communication theories, the cultural and societal implications of them, professional
development and ethical considerations which are related to different tools of digital communication.
Impersonal, interpersonal and intrapersonal communication are distinct conventional modes of
communication that also occur effectively within the context of computer mediated communication.
Impersonal communication refers to the exchange of information or messages that are superficial, lacking
in personal connection and typically devoid of emotions and individual nuances. Intrapersonal
communication involves an individual's internal dialogue and self-reflection. It is the process of thinking,
analyzing and processing information within one's own mind. Interpersonal communication refers to
interactions between individuals or amongst the small groups that involve the exchange of information,
thoughts, feelings and ideas in a rather personalized and interactive manner. So interpersonal
communication is a broad category that encompasses various types of communication including technical
and professional ones. Impersonal communication in computer mediated context encompasses
interactions like automated chat boards, email newsletters and one-way website announcements with a
primary goal of efficiently delivering information rather than forming personal connections. Interpersonal
communication within CMC includes professional and personal exchanges like text, messaging, video
calls, social media conversations, etcetera. Its focus is on relationship building, emotional expression and
active engagement in professional as well as personal settings. Interpersonal communication occurs
during CMC as individuals think, reflect or plan within their own minds. It is seen in their composing of
emails or deciding how to respond to messages or pooling research based resources online, etcetera. It
all involves internal thought processes. As technology has started to evolve, the lines between these
communication forms which were considered to be rather rigid earlier have become less and less distinct.
Let us look at an example of posting a story on Instagram. Posting a story on Instagram exemplifies the
intricate nature of computer mediated communication nowadays. On the surface, it appears as a simple
act, yet it delves into several communication dimensions. We can look at it from the point of view of
intrapersonal, interpersonal and mass communication simultaneously. Intrapersonally it involves personal
reflection and decision making as one chooses content and captions and the momentary narrative offers a
space for self-expression. Interpersonally it serves as a platform for connecting with friends, followers and
engaging in dialogue through comments and direct messages fostering relationships and emotional
connections. Moreover, this seemingly individual act when repeated across millions of users contributes
to mass communication by disseminating a wide array of personal stories and information on a global
scale. This course therefore will encompass a fusion of various communication forms taking into account
the diverse contexts in which they are applied. We recognize that in today's digital age, communication
does not neatly fit into traditional categories, but often involves a blend of personal expression, social
interaction and mass dissemination. The evolving landscape of technology and its impact on how we
communicate necessitates an integrated approach that should acknowledge these interactions and must
also provide a more comprehensive understanding of contemporary dynamics in terms of digital media
tools. Now let us also look at various goals and purposes of this course in connection with the modules
that we shall be covering together. The first aim is to develop proficiency in digital communication. The
course aims to offer a comprehensive grasp of the principles and applications of digital communication
spanning from computer mediated communication to emerging technologies such as augmented reality
and virtual reality. Secondly, we aim that participants should be equipped with the knowledge and
proficiency needed for effective communication in the digital era, nurturing expertise in various online
interaction forms from text based communication to collaborative efforts in virtual settings of team
discussions. We will introduce the course with a discussion of topics that are central to our broader focus
on online communication in the digital age. We will explore the realm of computer mediated
communication focusing on the intricacies of impersonal CMC. Moving further to comprehend
interpersonal communication theories within this context and investigating its nuances. After having
established a foundational understanding of interpersonal communication in the initial module, our course
will progress to intrapersonal communication where we will delve into its convoluted concepts concerning
identity formation and transitions. Subsequently, we will also discuss in detail diverse facets of
interpersonal communication within different digital contexts. We find that individuals utilize online
platforms like social media, blogs and forums to express themselves forging their digital identity which
interestingly subsequently molds their online communication and interactions. As we explore further the
concept of digital identity, we also gain insights into the art of crafting and managing online personas vital
for careers in image centric fields such as public relations, marketing and even academics. Digital identity
significantly influences interpersonal communication dynamics. Once online presentation encompassing
tone, language and content shape both professional and personal relationships. The course also
emphasizes on ethical awareness in digital mediums. We shall discuss in detail issues like online
authenticity, privacy and responsible digital conduct which is essential for effectively navigating the
principle dimensions of digital communication landscape. The module on technical communication in a
global workplace is closely aligned with the requirements of digital communication in modern global work
environments. It emphasizes the use of digital tools and platforms for efficient communication addressing
the global nature of contemporary workplaces. Additionally, the module focuses on tailoring messages to
specific audiences and employing persuasion techniques in the digital context. It highlights the importance
of digital collaboration, teamwork and adaptability in a dynamic and digitally driven professional landscape
preparing participants to excel in digital work environments. The module next to it is on virtual teams,
writing and literary evolution. This module covers a spectrum of topics from virtual teams and virtual
presentations that highlight the importance of online collaboration to digital writing emphasizing the
essential role of clear and engaging written communication in the digital realm. The module also traces
the evolution of digital literary practices, exploring how literature is created and consumed in digital
formats and the evolving landscape of cybernetic writing where artificial intelligence also plays a key role
in content generation. Lastly, it focuses on the digital literary domain encompassing various forms of
digital content which are essential for engaging with online audiences and communities. This module
discusses in detail the skills needed to navigate and thrive in the complex and dynamic world of digital
communication. The second aim of this course is to explore specialized areas of digital communication.
During our discussions, we will delve deeper into several specialized areas including digital literacy, digital
storytelling and social media marketing. We shall ensure that participants gain expertise in diverse
aspects related with the field of digital communication and all these aspects have multidisciplinary and
multilayered applications. The course also wants to foster interdisciplinary perspectives by combining
communicative theories, digital humanities, artificial intelligence and media studies to provide a holistic
view of the digital communication landscape which is emerging now. The module on digital humanities
and literary discourse highlights the integration of digital platforms for scholarly research and
communication, emphasizing how technology aids the dissemination of literary analysis. The module also
underscores the importance of inclusive intersectional approaches in online discourse fostering diverse
and multidimensional conversations. It delves into the influence of post-colonial and feminist perspectives
on online narratives ensuring that digital communication reflects diverse voices. It also addresses the
innovative role of digital humanities in reshaping content creation and online engagement. This module
encourages an interdisciplinary approach bridging traditional humanities with digital tools and platforms
and thereby enhancing critical analysis and interpretation in the contemporary digital landscape. Our
discussion on digital rhetoric, literacy and emerging technologies acknowledges the profound
transformation of professional communication owing to digital tools highlighting the necessity to adapt
these tools and platforms for effective interactions in the modern workplace. This includes a focus on
understanding digital rhetoric which is crucial for crafting and comprehending messages in the digital
realm. Additionally, it places a strong emphasis on digital literacy enabling participants to critically assess
online content, partake in meaningful discourse and navigate the complex landscape of digital information.
Multimodal and multimedia communication require new literacies for recognizing the significance of
relevant visual and multimodal tools. Keeping it in mind, this module traces the evolution of social
software and recognizes the role of platforms like social media in professional communication on a daily
basis. This module also addresses the growing influence of artificial intelligence on digital communication
strategies and user experiences. We aim to provide the participants with skills, knowledge and awareness
needed to excel in the ever-evolving domain of online communication within a professional context. Our
third aim is to empower participants for coping with the future challenges. Our discussions will impart the
knowledge and skills needed to adapt to and thrive in the ever-evolving and challenging digital landscape,
recognizing the influence of emerging technologies like artificial intelligence, augmented reality and the
metaverse. We want to sensitize and prepare participants for these future challenges and opportunities in
careers in various fields where digital communication is essential. It of course includes marketing, public
relations, media, entrepreneurship and academics, etc. The discussion on AI, social media dynamics and
online support acknowledges the transformative role of artificial intelligence in shaping how we
communicate online from personalized content to chatbots, revolutionizing our interactions and digital
experiences. This module shall provide a solid grounding in social media dynamics in the context of AI,
recognizing the pivotal role of these platforms in contemporary communication. It also explores the
nuances of social networking sites, shedding light on the art of creating and sustaining a digital presence
in these online communities. Furthermore, the module addresses the significance of blogging and
microblogging, emphasizing their importance in online storytelling and content creation. It also takes up
the role of online social support networks facilitated by social media to highlight how individuals and
communities leverage these platforms to share experiences, seek advice and also to build a sense of
belonging in the digital space. Our discussions on digital storytelling and marketing in the era of social
media recognize the prominent role of social media in contemporary marketing strategies, focusing on
how businesses and individuals employ digital platforms to engage and interact with their target audience.
It also takes up advertising strategies and their adaptation to the digital landscape, highlighting the
nuances of crafting and disseminating advertising messages digitally for different professionals including
young researchers and potential writers. It acknowledges the transformation of entertainment and media
studies in the digital era, emphasizing the dynamic relation between online communication and content
creation. The module explores the art of digital storytelling considering how narratives are tailored for
online platforms and also how interactive digital storytelling is growing in films and video games. This
discussion underlines the role of user engagement and online communication in shaping narrative
experiences in our age. This module shall equip participants with the knowledge and skills necessary to
excel in the ever-evolving realm of online communication, particularly within the context of marketing,
advertising, media, entertainment and storytelling. Our fourth aim is to foster critical thinking and ethical
engagement. We want to encourage during our discussions critical thinking as well as an ethical
engagement in online communication, addressing topics like digital ethics, online deception and gender
dynamics in digital spaces. We aim to prepare partakers to navigate the complex and evolving landscape
of online communication with sensitivity to the ethical, cultural and societal dimensions that influence our
digital interactions. Ethical dimensions of digital communication and behavior address the ethical
underpinnings of digital interactions, taking up issues like data privacy, security and responsible online
conduct. The ethical foundation which we will be discussing during our modules is vital for maintaining
trust and credibility in our face-to-face as well as online interactions through different forums in
professional and personal spaces. We will also discuss ethical challenges which are faced by the
entrepreneurs nowadays underlining the urgency for ethical decision making in building or managing the
online businesses. This module alerts us to the dangers of digital deception, prompting interactions to
critically analyze online content and navigate the intricacies of digital misinformation. With a focus on
linguistic styles and cues that may indicate deceptive practices, the module encourages participants to
become more discerning and responsible in their online communication. It takes up cautionary strategies
to help them to navigate the complex world of digital communication ensuring that they learn to foster trust
and exhibit responsible conduct in their online interactions. It is mandatory nowadays to learn to navigate
the dark side of digital communication also. Our discussions highlight the presence of scammers and
fraudsters in online spaces, emphasizing the importance of digital literacy to protest against online
deception as well as financial frauds. These segments explore various dangers associated with online
communication including issues like cyberbullying, privacy invasion and misinformation. They empower
participants with knowledge to recognize, confront and mitigate these challenges in their online
interactions. This part also provides a unique perspective by analyzing how cinema portrays digital
deception, encouraging participants to critically assess media representations and relate them to real
world digital communication challenges. This section directly addresses the critical issue of cyberbullying,
a prevalent concern in the digital age. Our discussions shall definitely equip the participants with the tools
and understanding needed to identify and combat online harassment, fostering a safer and more
respectful digital environment. Our discussions also acknowledge the pivotal role of gender in shaping
online interactions. It explores how gender identities and expressions influence digital communication,
drawing attention to the unique challenges and opportunities gender dynamics bring to the digital realm. It
provides a theoretical foundation for understanding how gender operates in contemporary online contexts.
This foundation is critical to assess the influence of gender on online communication including issues
related to representation and power dynamics. This part of the module further crystallizes the
transformative role of digital communication in the realm of gender advocacy and activism. It emphasizes
how online spaces have become platforms for challenging gender inequalities and promoting inclusivity.
The module explores the concept of cyber feminism, connecting it to digital communication. It emphasizes
how digital spaces enable the redefinition and reconstruction of gender identities often using cyborg
metaphors to challenge traditional gender norms, binaries and boundaries. Our discussions on video
games examine how digital communication influences and is influenced by changing portrayals of gender
in video games. It demonstrates the impact of online spaces in challenging or in perpetuating gender
stereotypes. Our module on AR, VR and avatars particularly provides a foundational understanding of the
trajectory of communication technology, a critical component in the digital age where rapid advancements
constantly shape online tools and platforms. It discusses the transformative potential of AR that overlays
digital information onto the physical world. It explores how AR enhances online experiences by creating
interactive and immersive digital content affecting everything from online advertisements to remote
collaboration. VR and the emerging metaverse concepts are also pivotal in the digital age. The module
examines how VR facilitates immersive online interactions such as during our virtual meetings and in
digital events. It also delves into the metaverse, a new digital realm that is redefining the way people
interact and communicate online. Avatars play a significant role in online communication, particularly
within virtual environments and social platforms. The module deliberates on how avatars represent
individuals in digital spaces emphasizing the influence of digital personas in shaping online interactions.
With this introduction, let us look forward to an interesting exploration together in the next few weeks. I
would encourage all of you to ask your queries and questions during the discussion forum where I would
be able to give a more detailed answer and explanation

It offers an exciting opportunity to bridge theoretical insights with practical applications, enabling us to
better comprehend our everyday communication choices through digital means. Computer-mediated
communication involves the exchange of meaning between humans using the digital channels. Though
the precise definition can be rather challenging as the technology keeps on continuously evolving. The
study of CMC is a relatively recent addition to the field of communication emerging only in the last four
decades. Studying CMC is challenging due to the complexities of how individuals adapt to virtual
interactions, the evolving nature of self-presentation and online identity management. The nuances in
message encoding and decoding and the rapid changes in technology as well as the changes in the
societal norms. To understand how CMC impacts communication is challenging. There are several factors
which we have to consider for this purpose. Some discussion on theoretical approach also becomes
necessary to explore how computer mediation influences communicative processes. This course takes a
functional approach to the study of CMC focusing on understanding how mediation influences interactions
without becoming overly tied to specific technologies. The goal is to explore the underlying
communicative, psychological and social processes with the help of theoretical background avoiding the
limitations of technology specific knowledge that can become quickly outdated. In the late 1980s and
1990s CMC primarily referred to communication through terminals or computers at fixed locations.
Typically involving text exchanges via email or chat it was different from face to face interactions. As
technology evolved and more and more people started to gain internet access the definition became less
straightforward. The definition of CMC has become more complex now due to the evolution of technology
with numerous devices and communication channels available to all of us. Questions now arise about
what constitutes a computer, what is truly mediated by computers and how the level of mediation affects
communication. As technology advances CMC continues to evolve making it an exciting and engaging
area for research and exploration within the broader field of communication. CMC is a sub discipline within
the field of communication that focuses on specific questions and theories related to the human
communication. Still it stands out by bridging other sub disciplines and fostering unique perspectives on
the fundamental nature of human interaction through digital mediums. CMC not only complements other
areas of communication but is increasingly establishing itself as an independent field with distinct
concerns and contributions. Understanding CMC involves recognizing its role both in enhancing other
communication sub disciplines and also as a distinct sub discipline in its own right. With the widespread
use of computers and digital interaction, computer mediation theories and effects have become integrated
into various aspects of communication transcending sub disciplines. CMC is now a part of organizational
communication as job seekers use platforms like LinkedIn. CMC also influences interpersonal
communication through dating apps like Match or Tinder. It facilitates intercultural communication on
social media and also raises questions about the dynamics of online fan communities blurring the
boundaries between CMC interpersonal, inter-group and intra-group communication dynamics. Early
CMC research in the 1990s had focused on studying non-verbal and verbal communication through text
based tools like emails and chats in order to understand how specific aspects of communication could be
isolated and manipulated so that researchers can be allowed to explore the effects of various variables on
persuasive messaging unencumbered by visual or auditory cues from the sender. Like earlier media
studies, CMC research delves into how people embrace and modify their communication patterns through
computer systems offering new channels and opportunities for interaction. CMC distinguishes itself within
the communication discipline by studying how humans adapt to new digital methods and leverage new
channels and cues. For example, social network sites like Facebook and LinkedIn make social networks
visible and easy to navigate eliminating the need to remember long lost contacts and facilitating job
related inquiries by connecting individuals through mutual connections a feature which is not available in
our offline interactions. CMC strengths out as a subfield of communication because of its exploration of
communicative possibilities that while feasible offline are more prevalent and natural online. In examining
processes like mass personal communication where interpersonal interactions become publicly viewable
and such processes are facilitated by the technological affordances of several CMC tools now. These
tools enable complex dynamics where a message can be both interpersonal in mass or public and private
fostering unique tensions in online communication. CMC researchers are interested in studying these
processes as they occur more naturally in the online environment even if they are possible through other
media. CMC can also be defined as the transmission of meaning between two or more humans using
digital technologies with a focus on the effects of mediation on human communication processes rather
than specific technological processes. This definition helps distinguish CMC from traditional mass media
and emphasizes the role of computers as digital intermediaries encompassing a broad range of digital
devices. CMC has evolved from basic email and chat to include complex multimodal tools enabling users
to share various forms of content in a collaborative manner. Its significance has grown as billions of digital
messages are being exchanged on a daily basis making it an increasingly important subject of study.
Focusing more on specific technologies or online tools in CMC research can be limiting because various
factors like design, user interface and user demographics influence these tools. Instead, a theoretical
approach to CMC allows for a more lasting and versatile understanding of how human beings
communicate through digital platforms. This approach helps uncover fundamental psychological,
sociological and communicative processes that underline interactions on different websites or tools
providing valuable insights that remain applicable over time enhancing our understanding of how human
communication is impacted by the ever evolving digital landscape. Technodeterminism is an approach to
computer mediated communication that asserts that the mere presence of a technology inherently
changes society. This perspective initially proposed by Karl Marx amongst others suggests that
technology shapes a society's development and culture without society adapting to accommodate the
technology. This perspective is often observed in organizations that adopt new communication channels
merely because they exist without necessarily having a clear strategic purpose for doing so. It suggests
that the medium comes first and human communication learns to adjust to it. The next slide illustrates a
video. In this video segment, the speaker reflects on the role of computers and technology in our lives.
They note a recent shift towards building technology that augments human abilities and helps individuals
in achieving their goals while maintaining control over the technology also. The speaker also raises a
fundamental question about the purpose of technology. Whether it should surpass and dominate humans
or serve only as a tool to enhance our capabilities and help us to understand ourselves better. I think
there are some rules about computers showing respect for people as but it's really rules for we who
design them. Ultimately we have to ask what we want. Do we want to build things that surpass us and
dominate us and take over like in a lot of the dystopic science fiction visions or do we want to build things
that augment us? Lately there's been a real pushback instead of just building artificial intelligences that
are going to somehow be smarter than us. As my friend and colleague Marvin Minsky says, we'll be lucky
if they keep us around as household pets. That kind of machine. What we're finding is people want to
build things that help them to learn more about themselves, to be more effective at the goals that they
want to achieve. The end result has not been to build the smartest machine, the brain that dominates our
brain, but to build things that augment our brains and our bodies in ways that also help illuminate what's
going on inside our brains and bodies. We learn more about ourselves and we still maintain control and
we have the choice to do new things now because we know more about ourselves. According to this view,
technology is the driving force and societal changes follow. For example, a tecton determinist might argue
that the widespread availability of mobile phones has reduced the need for in-person face-to-face
communication. It would be pertinent at this point to refer to the philosophy of technology as suggested
by the famous American critic Don Ihde. It revolves around the central questions of the role of technology
in everyday human experience, the impact of technology on human existence, its relationship with the
world and the influence as well as consequential transformation of human knowledge through
technological artifacts. He has talked about embodiment relations and hermeneutic relations. In
embodiment relations, technologies become a unified part of human beings and are directed towards the
world. In hermeneutic relations, humans read how technologies represent the world. Technologies form a
unity with the world and humans are directed at understanding the representations provided by
technologies. In the example of the former embodiment relations, we can include speaking through a
phone or looking through a microscope while the latter hermeneutic relations can be seen in an MRI scan
representing the brain activity. Ihde also suggests two other types of relations, alterity relations and
background relations. In alterity relations, human beings interact with technologies and the world is in the
background of this interaction. For example, the human-robot interactions, human beings using ATMs or
operating machines. In the background relations, technologies serve as the context for human
experiences and actions. For example, the background sounds of the air conditioners or the warm air from
heating installations. Ihde emphasizes that these relations are not isolated processes that affect a fixed
subjects experience of a fixed object. In a state, they co-shape subjectivity and objectivity constituting
both humans and the world they experience. Don Ihde has also introduced the concept of multi-stability
which implies the technologies have no fixed essence, but are defined by their use. Technologies are
similar, for example, to a Necker cube which is a perceptual phenomenon. Necker cube is an optical
reversal illusion which was created by Swiss crystallographer Louis Necker in 1832. The Necker cube test
is a psychological experiment showing how our brains interpret the same object or situation in different
manners. Similarly, technology can also have multiple interpretations and meanings in different contexts
for different people. The contextual nature of technologies makes them multi-stable. With their
significance evolving based on cultural and usage-based contexts. For instance, early typewriters and
telephones were initially developed for the blind and the hard of hearing, but they quickly took on new
meanings and uses within broader cultural context and started to serve everyone. A socially deterministic
approach to CMC posits that society plays a significant role in how a technology is adopted and utilized. In
this perspective, society collectively shapes a technology and its applications to align with its own goals
and purposes. Essentially, it is the people's usage of technology which determines how the technology is
to be employed. This approach is often embraced for those focusing on user design and user experience
as they investigate how users employ a specific device, a technological platform or service irrespective of
whether it aligns with the original design intentions of the concerned technology. For instance, a social
determinist might highlight how mobile phones have been adapted by people to maintain contact with a
diverse range of individuals. A usage that might not have been as prevalent with either landline phones or
written letters. Langdon Winner s arguments holds importance for both creators and users of digital
communication technologies. His arguments emphasize that technology choices in the digital realm,
including the adoption of new technologies and the design of digital systems are inherently political. These
choices often go beyond practical considerations and involve selecting forms of digital life that embody
certain possibilities and values. Langdon Winner is the Thomas Pellet Chair of Humanities and Social
Sciences at Rensselaer Polytechnic Institute, New York. He proposes that technologies embody social
relations, that is power. His argument revolves around the idea that technology is not neutral, but carries
inherent political properties. He suggests that technology can have political implications. The first
implication which he highlights in the context of digital communication is that the design or arrangement of
a technical device or system can resolve political matters in a community. For example, the height of
bridges in Long Island designed to discourage bus traffic could also have repercussions about the limited
access for racial minorities and low income groups who were dependent on the bus traffic reinforcing a
particular political agenda. The design of online platforms, their algorithms and content moderation
policies can also impact issues like free speech, privacy and access to information. Some technologies
necessitate specific social arrangements and reinforce particular political relationships. For instance, large
ships require hierarchies while nuclear power plants demand centralized control making them inherently
political artifacts. The architecture of the internet and its governance structures may also affect issues
related to censorship, surveillance and ownership of the data. Winer also acknowledges that technology
can have political implications without being part of a conscious conspiracy. For instance, the failure to
accommodate individuals with disabilities has arisen from long standing neglect rather than malicious
intent. The unintentional consequences of algorithms on social media platforms can lead to the spread of
misinformation or the amplification of certain viewpoints. In the modern context, we may fail to recognize
the political nature of these decisions as certain norms and practices become ingrained in our digital
ecosystem. Therefore, it is crucial to acknowledge the political and ethical implications of digital
communication technology related choices. These technologies can embody and reinforce specific social
arrangements, values and power dynamics. Understanding how individuals use CMC can benefit from
both techno determinism and social determinism. For example, research on the meaning of the
Facebook's like button showed that some users employed it simply because it was available as a
straightforward means of communication. However, some other people use the like button more
selectively based on social norms within their network which had shaped the meaning of a like. These
approaches help explain different situations and are useful in comprehending the relationship between
CMC and the users of computer technologies. In practice, people may use technology both because it is
there and also because it aligns with social norms or the peer behaviors often combining elements of both
perspectives in their usage. Reflecting on our CMC tool usage, we may notice a blend of techno
determinism and social determinism in our interactions. Computer mediated communication encompasses
a specific communication realm and distinguishes itself from other forms of communication. It is helpful to
consider what may not be considered as CMC for the clarity of our understanding. First, face to face or F
to F communication is a distinct category which is entirely separate from CMC and while it will be explored
during our discussions, it primarily serves only as a point of comparison. Mass mediated communication
such as television, radio and newsprint is also distinct from CMC. These forms of communication lack the
interactivity and identifiability that are fundamental to CMC. Additionally, various types of communication
occurring through the internet and computers like online newspapers, podcast and Skype phone calls do
not necessarily fall under the category of CMC unless they process the unique hallmarks of computer
mediated communication. To determine if an interaction qualifies as CMC, we can ask whether we could
study the same phenomenon through other communication channels. If the research could be conducted
as effectively using different means, it might be a question about mediated communication, but not
necessarily about CMC. A growing area of interest is how individuals communicate with computers and
vice versa, given the increasing capabilities of algorithms and machines to send and receive messages.
This field explores the dynamics of human computer interaction which is theoretically and practically
significant. It is particularly relevant as robots, virtual agents and adaptive programs simplify interactions
between humans and computers. For instance, digital assistants like Alexa, Google Home, Siri and
Cortana can assist with various tasks upon request. There are situations where it is more natural and less
stressful to communicate with machines than humans. For example, a person can anonymously try to
seek therapy or counseling from a non-judgmental computer program. However, the field of human
computer interaction or the HCI which deals with interaction between humans and computers is
somewhat beyond the scope of our exploration. While we will touch on certain aspects of HCI in
connection with CMC, our primary focus will remain on human to human interaction occurring over
computer channels using digital mediums as this is the core area of our exploration. The boundary
between online and offline interactions is a complex and continually evolving one. While some people may
consider offline interactions as real life, online experience can also have very real consequences for our
offline selves. To illustrate this idea better, we can take up the example of an early online community
LambdaMoo as a case study. LambdaMoo was founded in 1990. It was a text based virtual space where
users created characters and through them engaged in interactions. One incident in LambdaMoo which
had occurred on a Monday night in March 1993 became the subject of an article by a journalist Julian
Dibbell titled A Rape in Cyberspace. This article was reproduced in several ways later on. The incident
involved a player whose online name was Mr. Bungle who used a voodoo doll sub-program to perform
actions falsely attributed to other characters within the virtual community. These actions went beyond the
established community norms involving explicit sexual content and violations of avatar s autonomy.
Following these deplorable actions of Mr. Bungle, some users expressed their emotional trauma on the
inMoo mailing list. The incident as described by the journalist Julian Dibbell sheds light on the
complexities of online communities, their governance and the blurred lines between real life and the
virtual reality. This case highlights that online interaction can also have genuine emotional and social
consequences. While they may not involve in physical harm, the impact on the psyche of the individual
and communities can be permanent and fundamental. Profane tweets, online harassment and doxxing
are examples of online behaviours with tangible offline effects including job loss or emotional distress. The
boundary between online and offline is not as clear cut as it may seem and the consequences of online
actions can spill over into the offline world. Despite the advances in technology and the shift towards
more visual and interactive online experiences, the fundamental questions and tensions regarding this
boundary remain relevant. The case study of LambdaMoo and Mr. Bungle demonstrates the intricate
interplay between techno determinism and social determinism. Technology and its design influence
human behaviour, but they are also shaped by the value norms and collective decisions of the user
community. It shows that technology and society are interdependent with each influencing and being
influenced in turn by the other in a dynamic and complex manner. Computer-mediated communication or
CMC is a continually evolving field that significantly impacts various communication aspects. While
challenging to keep pace with the rapid technological developments, it is an exciting and ever evolving
area for exploration. The goal is to connect these theories to real life applications allowing readers to
reassess their everyday interactions and understand the processes behind their choices in using specific
communication channels. The discussion today shows that technology and society are interdependent
with each influencing and being influenced by the other in a vibrant and multifaceted manner. The next
module shall discuss the capacity of computer-mediated communication to foster socio-emotional
connections. We shall also discuss the media richness theory in this context

Good morning friends and welcome to this module. In the previous module, we had endeavoured to
bridge the gap between theoretical insights and practical applications in the context of one's choice of
specific communication channels. Today, we shall explore the potential for socio-emotional relationships
in computer mediated communication and also examine the role of media richness theory in guiding our
online interaction. The study of CMC, computer mediated communication, gained significant attention in
the mid 1970s only due to limited online communication opportunities which existed in contemporary
world. They were initially limited to the military and large research universities. Moreover, CMC was
initially seen as an inferior medium for communication, believed to lack the richness of face to face
communication or even the richness of the telephonic interactions. This perception persisted for almost
two decades emphasizing the impersonal nature of communication through CMC. So, what do we
understand by impersonal communication? Impersonal communication as Caleb T. Carr has mentioned
involves interactions that facilitate communication, but do not foster meaningful relationships based on the
recognition of individual traits and personalities. Also, we cannot say that it is inherently negative. Even
now we find that it occurs while we follow the social scripts in our everyday interaction situations such as
during our store purchases or in casual acknowledgments of each other. In the early stages of CMC
research, the internet was not initially seen as a medium capable of supporting the types of interactions
which were needed for relationship development. And therefore, it was a factor in its limited exploration in
the research at that time. In the mid 1970s, scholars started examining CMC because organizations and
work groups began using it for decision making. This shift was driven by the emergence of group decision
support system commonly known as GDSS which served as precursors to modern workplace
collaboration tools like Slack or Microsoft Teams. These systems allowed members to exchange
information and make decisions through online discussions marking a significant moment. Wven CMC
gained academic attention for its impact on the processes of communication. We should also recognize
the significance in any communication research of CFOs or the cues which have been filtered out. The
earliest paradigms of online communication known as the CFO or cues filtered out approach argued that
CMC could not convey the cues which are necessary for interpersonal communication. The emotional and
social cues in CMC remain limited and therefore, it cannot establish meaningful interpersonal
connections. So, what exactly are these cues? Mainly the cues are the part of non-verbal communication
skills, the kinesic aspects, the facial expression of our emotions, the eye contact, proxemics, etcetera.
While more recent research has shown that meaningful interactions and relationships can also occur
online, the CFO approach still played a crucial role in establishing CMC as a research field and it is still
relevant in some online contexts and experiences. The cues filtered out paradigm which initially
suggested that CMC was primarily suited for impersonal interactions only drew on to more specific
theories that are the social presence theory and the lack of social context cue hypothesis. These theories
support this approach that is the approach of the CFO to explain its conclusions about CMC limitations in
conveying meaningful social interactions. Despite evolving research, the CFO paradigms historical
importance and its foundational role in more detailed theories make it a notable aspect of the research
studies of CMC. The CFO theories which are particularly impacted by the social presence theory contain
that online communication was perceived as impersonal due to its inability to convey socio-emotional
cues. In face to face communication, we find that multiple modes for conveying messages are there.
However, in comparison, CMC used to be predominantly text based and it limited its capacity to transmit
the socio-emotional cues in the early stages of the computer developments. These cues encompass non-
verbal as well as verbal signals that indicate a communicators social presence, emotions and
interpersonal closeness such as gestures, facial expressions, tone of voice, proximity, other kinesic and
body linguistic signals. The absence of socio-emotional cues in online communication as proposed by the
CFO paradigm hampers the ability to perceive social presence which includes feelings of connection,
emotions and interpersonal closeness amongst the interactants. In other words, without the non-verbal
and verbal indicators that convey these aspects in face to face interactions, it becomes challenging to
establish a sense of genuine connection and interpersonal relationships. This limitation was a key reason
why CFO theories initially predicted that online communication would be less conducive in meaningful
social interactions. Let us now look at the lack of social context cues hypothesis. The inability of computer
mediated communication channels to transmit social cues was another reason which was suggested in
this context. Social cues encompass environmental and relational indicators that help people navigate
interactions and anticipate communication dynamics. Early CMC studies found that communicating via
email which lacked face to face interaction and social context prevented participants from observing and
interpreting these norms. Consequently, interactants found it difficult to assess the individual
characteristics of their communication partners potentially leading to a feeling of resistance, disinterest or
even leading to a belligerent behaviour in communication. Due to these limitations, CMC was considered
to be better suited for impersonal or official interactions. It was considered detrimental to online
relationship development. The cues filtered out or the CFO paradigm was a dominant perspective in CMC
research for several years, guiding studies on how online communication impacted interpersonal and
group communication processes. However, since the mid 1980s, the CFO paradigm has largely been set
aside due to changes in available communication technologies and how individual people have adapted
quickly to online communication usage in their daily lives. We can say that while it is not a dominant
perspective today, elements of the CFO paradigm still influence modern studies, particularly when we try
to address the absence of certain cues related to identity. The paradigm can help us understand how our
online interactions are shaped and how we deliberately select and limit cues when communicating in
different CMC channels. Impersonal communication serves a purpose in diverse settings. It remains
pertinent in specific circumstances, especially in situations which are characterized by brief one time
interactions or when there are minimal expectations of building deep interpersonal connections. Let us
look at the media richness theory. It was suggested by Daft and Lengel in 1986. It explains why
individuals select particular media tools for sending messages and making decisions especially in
organizational context. And in the 1980s, the expansion of computer and internet usage was primarily
driven by organizations largely due to the popularity of emails allowing instant global as well as local
messaging and data transfer at practically no cost. As more and more businesses and organizations
started to adopt email, group decision support systems and file sharing, it became evident that different
media choices were more suitable for specific needs in the domain of communication. Media richness
theory classifies communication channels as either lean or rich by assessing their capacity to convey
socio-emotional messages content. It proposes that the selection of a specific medium should be
contingent upon the nature of the information. In other words, MRT recommends tailoring the choice of
medium according to the specific message content in order to optimize effective communication traits.
The media richness theory has classified information needs into two categories, reducing uncertainty and
reducing equivocality. Uncertainty in MRT pertains to the need for specific concrete information to make
decisions such as accessing past sales data, etc. According to MRT, leaner communication channels like
email or slack are suitable for addressing these needs. Equivocality in MRT involves identifying one option
amongst several vague or nebulous choices often referred to as ambiguity. For high equivocality
problems, richer media like telephone calls or Zoom video chats, etc. which allow for rapid feedback and
continuous improvement in terms of clarity of our communication and feedback are recommended. These
high equivocality scenarios may lead to further questions highlighting the need for richer communication
channels. MRT suggests a range of communication media illustrated in this diagram to strategically
transmit messages based on the levels of uncertainty and ambiguity in the information being
communicated to the other interactants. The theory proposes that the most appropriate medium aligns
with the specific communication needs. For instance, when more ambiguity exists, richer channels like
face to face interaction or direct video calls are preferable for seeking feedback. Whereas, in situations
with more uncertainty, leaner channels like bulletin boards or group texts are more suitable providing
direct and concrete information. The choice of communication media is guided by the need to address
uncertainty and equivocality. Leaner media are considered to be more suitable for reducing uncertainty
while richer media are required for handling equivocality. Often, media selection is thus determined by
these needs and different media fulfill various richness requirements. We can also note that this model
encompasses communication channels beyond CMC including Memos, telephone calls, bulletin boards
and even non-mediated face to face interaction. However, this illustration may also be considered as
outdated as it does not consider newer forms of social media like group chats or snapchat stories. Media
richness theory as emphasized by Daft and Lengel has traditionally categorized CMC channels
particularly text based ones like list-serves and online bulletin boards as leaner and thus considered
impersonal. The categorization stems from the primary use of lean media for the dissemination of
information with little focus on their potential for interpersonal communication. Consequently, discussions
and applications of MRT have often centered around the exchange of information through lean media
while richer channels were typically associated with face to face or interpersonal interactions. It can be
noted that the MRT research largely maintains its focus on lean media. At the same time, there have been
other researches which have explored how the managers choices of communication media also affect the
supervisor and the subordinate relationships. This emphasis on lean media may be there due to
subsequent theories focusing more on the role of richer media in conveying socio-emotional meanings
and guiding interpersonal relationships. Another paradigm which we can refer to here is that of computers
as social actors or the CASA. The CASA paradigm explores how people interact with computers and
technology considering these interactions as if they were interpersonal relations. Although it may seem
rather strange to anthropomorphize inanimate objects like computers, this theory examines how
individuals sometimes attribute human like characteristics to technology such as giving their cars or
tablets a pet name or expressing frustration when a device does not function as expected. In essence,
CASA examines the way people relate to and interact with technology treating it as if it were a social
actor. Therefore, it is classified as an impersonal theory due to the inanimate nature of computers. The
theory of computers as social actors has originated from the work of some Stanford University
researchers in 1994. The team included Nass, Steuer, and Tauber. They posit that people's interactions
with computers inherently possess social aspects. It is important to note that this theory does not suggest
that people view computers as living beings. Studies have consistently indicated that individuals who give
names to their tablets etc. for example, are aware that computers lack life and animation. However,
computers and technology despite being a series of programs and algorithms can effectively serve the
essential functions required for a basic model of communication. In his work, Carr has referred to Berlo s
Transactional Model of Communication which was introduced in 1960. This model outlines the
communication process as a sender encoding a message and transmitting it to a receiver via a medium
and the receiver decodes a message and provides feedback to the sender. In the context of computers as
social actors perspective, a computer becomes a part of this transactional model. When you issue a
command to a computer, it responds accordingly to programmed algorithms and provide feedback either
confirming successful execution or indicating certain problematic issues. While computers are not sentient
beings, the CASA perspective helps us to understand the interpersonal communication that takes place
with technology as we increasingly anthropomorphize it. Experiments have generally supported the
CASA paradigm highlighting how individuals often attribute cognitive and emotional qualities to their
computers. Some studies like the research by Von der P tten, Kr mer, and Eimler,have even shown
potential health benefits for senior citizens who interact with computers or computer programs and find
that it can be less stressful than interacting with human professionals in certain contexts. This
demonstrates how talking to a machine can in fact alleviate feelings of isolation even though it is not
considered as interpersonal communication as far as the beneficial aspects are concerned. The way we
interact with and derive benefits from computers can be influenced by various communicative elements
including their appearance, their behavior and their conversational style. The language and interaction
style by computer programs can influence a person's thoughts, feelings and behaviors particularly in
terms of how human the program is perceived by the user. One way to enhance a computer's perceived
humanity is to modify its language. Caleb Carr has referred to a study by Walther and colleagues
conducted in 2011. In this study, participants were asked to give input about certain stories about their
outgoing experiences and they received feedback assessing their extroversion either from a computer
analysis of their word choice or from a graduate psychology student. Interestingly, both feedback forms
were generated by a computer and provided identical feedback. The only difference was the naturalness
and conversational tone of the feedback. When the feedback sounded more human like, it had a stronger
impact on how participants mute themselves and therefore, making computer interactions closer to
conversations with friends in terms of word choice and tone can increase the anthropomorphism of a
computer program. Computers are increasingly capable of not only displaying text but also reading and
speaking it, sometimes engaging in dialogues or interactions with users. The manner in which a computer
communicates can significantly influence the perception of the computer as a social actor. The 2010
research by Lee demonstrates that individuals responded more positively and were more likely to confirm
to suggestions when the feedback was delivered using human speech rather than a voice synthesizer
program even though the content was identical. This study highlights that computers can influence actions
and thoughts similarly to how friends do. Recent examples include virtual assistants found on phones and
smart speakers such as Siri, Google voice, Alexa and Google home where text interactions with these
computer based social actors are becoming more human like impacting users perceptions and the nature
of their interactions. The visual CASA is also significant. Research has also delved into how people
interact with digital agents which are computer programs designed to mimic human like interactions.
These agents are commonly encountered when chatting with supposed customer service representatives
on various websites. While they often appear as human like avatars, research shows that the more
visually anthropomorphic an agent is, the more it is perceived as a credible and attractive social actor.
This understanding explains the use of human like representations in customer service interactions and
why less human like agents like Microsoft Office's assistant, Clippett have been less successful in
engaging users. The behavior of a computer can significantly impact how individuals perceive it as a
social actor and consequently their interactions with it. Drawing parallels from fictional depictions such as
Mr. Data from Star Trek, human like robots in popular media like Alita or the Cylons in Battlestar Galactica
are easier to interact with and personalize because they possess human like behavior and appearance. A
computer technology continues to advance and computers become more human like in their looks,
actions and interactions. It is increasingly likely that people will perceive them as social actors ultimately.
The 2012 study by Kr mer, Von der P tten, and Eimler suggested the importance of investigating how
computers physically behave and how individuals interpret these behaviors. Early findings indicate that
people can interpret verbal and facial expressions from agents and robots influencing their perceptions
and interactions. As technology evolves nonverbal cues such as facial expression, space, touch and
kinetics play a significant role in shaping our interactions with computers as social actors. While these
interactions may be quite interpersonal, they are considered impersonal since there is only one human
participant interacting with technology. The impersonal approaches to CMC do not inherently mean that it
cannot support socio-emotional or friendly relationships. Instead, these models and theories suggest that
under certain conditions, online communication may not replicate the rich face to face exchanges which
we have with friends and family. Media richness theory guides the selection of specific online tools for
strategic purposes, sometimes favoring lean mediums when a deep interpersonal connection is not
needed. Earlier notions that online communication could never support interpersonal relationships as
suggested by CFO have been largely discredited owing to the latest developments in the area of
communication technology. Subsequent theories like MRT and CASA propose that communication may
be impersonal depending on the specific tools used or when interacting with computer systems.
Communication whether online or offline is not inherently impersonal or interpersonal, it depends on how
individuals choose to communicate.

As previously explained in the very first module of the course, our course will begin the discussion of
interpersonal communication before delving into intrapersonal modes of communication. This pedagogical
strategy follows a functional approach placing practical real world applications at the forefront to establish
a fundamental grasp over related issues. This progressive learning model capitalizes on the foundational
knowledge of interpersonal communication as a springboard to comprehending the more intricate
concepts associated with intrapersonal communication which have recently emerged in the digital era.
Interpersonal communication serves as a foundation for more complex forms of information involving the
exchange of information, ideas as well as emotions between and amongst several interactants. We also
find that in the recent years, the field of intrapersonal communication has also evolved to include more
detailed concepts related to identity shifts and identity formation. It has developed our intrapersonal
communication into more porous boundaries and therefore, an understanding of issues related with
interpersonal communication would prepare us better to understand these intricacies of intrapersonal
communication in today's digital mediums. We encounter the complexities of human interaction including
how interactions shape our self-concept, emotions and identity. And these concepts have become integral
to understanding how individuals perceive and communicate with themselves. Let us look at certain
aspects related with digital means of interpersonal communication which have resulted into several
complexities which were not realized earlier. We begin by distinguishing between digital natives and
digital immigrants. The term digital natives is used for those individuals who have grown up along with the
technology including an immediate exposure after their birth to video games, personal computers and the
internet which have become an integral part of their lives and also of their process of growth as a
teenager and then as an individual. While different people may have varying opinions on the exact age cut
off for being classified as a digital native, most commonly consider that those people who have been born
around or after 1992's fall into this category. Digital natives primarily rely on specialized websites for
information, possess confidence in their technological abilities to accomplish specific tasks and are well
versed in technical terminology and jargon particularly after acquiring some knowledge. Digital natives are
said to be born with a digital DNA. In comparison, the other term digital immigrants suggests those
individuals who are adopting and incorporating technology into their lives at a later stage particularly those
people who did not have easy access to digital technologies during their early and formative years. They
tend to learn media and related tools more slowly in comparison and might also be resistant about
embracing new technologies as their daily habits. Mark Prensky's 2001 article which was published under
the heading of Digital Natives, Digital Immigrants highlights disparities in technology, attitudes and usages
between digital natives and immigrants commenting that the digital developments have resulted in a
singular cultural discontinuity. Key distinctions include digital natives having a distinct language and
vocabulary, being adept at processing information through technological modes and means quickly and
from various parallel processes, feeling more at ease with online communication due to it being a lifelong
part of their existence. In contrast, digital immigrants may struggle with these aspects as they adopted
technology at a later stage of their life. Distinguishing between these two is essential for understanding
the transformation in CMC research also. It led to the development of interpersonal communication
theories in the context of online communication. In the early days of internet research, we find that most
scholars were digital immigrants and they had to adapt to internet which was introduced when they were
already relatively mature in age. However, with the proliferation of personal computers in the 1990s, the
younger generation of researchers began to approach CMC from the perspective of digital natives as they
had integrated technology into their daily lives, particularly in interpersonal contexts. This shift in mindset
contributed to a more nuanced understanding of CMC and its role in interpersonal communication.
Interpersonal communication involves interactions between at least two people, if not a small group,
enabling them to develop a meaningful understanding and potentially build a relationship based on their
individual characteristics. This form of communication is considered socio-emotionally rich as it fosters
perceptions of relational closeness, understanding and empathy. Interpersonal communication has a long-
standing tradition of study within the field of communication research and is integral to maintaining
valuable relationships with friends, family and colleagues. These relationships may also deepen and
broaden as individuals gradually learn more about each other. Scholars along with regular internet users
have long acknowledged that CMC can indeed foster a sense of closeness. Interpersonal communication
is highly valued for its role in education, community building, political engagements and relationship
development as well as several other fields. Early theories had initially dismissed CMC as a substitute for
face-to-face interaction in interpersonal communication. But definitely by the mid 1990s, scholars had
begun to anticipate how online communication could be just as emotionally rich and interpersonal as in-
person face-to-face interaction. The concept that technology could enhance interpersonal communication
emerged shortly after the CFO paradigm which we have discussed earlier and this resurgence of the
theory of electronic propinquity ultimately contributed to a deeper understanding of online interpersonal
communication. So, what is electronic propinquity? Propinquity is the perception of relational or
psychological closeness felt toward another person. Various factors like interpersonal attraction,
homophily and social attractions have been used to measure this psychological closeness, but they all
essentially assess how close you feel to another person on a psychological level. The way you feel during
conversations with a parent compared to your conversation with a stranger is highly different from each
other even if topics are the same. The difference in feelings is attributed to the concept of propinquity.
Initially the concept of propinquity primarily focused on offline interactions through analogue channels like
telephones and closed circuit audio visual conferences. Research has consistently shown that physical
proximity influences interpersonal communication as we tend to spend more time with those who are
closer to us whether they are friends, colleagues or family. Earlier it was interpreted in terms of
geographical location only in terms of physical proximity. Virtual distance remains to be a powerful
predictor of interaction, friendship and influence even today perhaps, but introduction of instant messaging
and video conferencing and continuity of connectivity allows a notional virtual propinquity to work on
virtual relationships where people are connected virtually. In 1978 psychologist Philip Korzenny had
proposed the concept of electronic propinquity. It suggested that electronic media could enable
communicators to experience a sense of closeness which is similar to face to face interactions. At the
time when Philip Korsanyi had initially suggested the theory, electronic media were considerably more
limited than what they are today. The internet was still in its early stages and it was primarily accessible to
the military and a few academic and research institutions only. Despite these limitations we find that
Korzenny s theory of electronic propinquity relied on factors that were not specific to any particular
medium and could continue to guide research as new technologies like the web, Instagram and Zoom
etcetera emerged decades later. The diagram below suggests what are the electronic propinquity
elements. The figure here originates from a 2017 study that had examined the application of electronic
propinquity in ICT integrated hospitals in Malaysia and the communication among medical doctors using
new media sources. It visually highlights the current relevance of the electronic propinquity theory aiding
us in identifying the components of electronic propinquity within new media. The theory of electronic
propinquity outlines specific factors that influence the psychological perception of closeness with a
communication partner. These factors include channel bandwidth, mutual directionality, task complexity,
communication skills, communication rules and available media choices. Bandwidth, one of these factors
refers to a channel's capacity to carry multiple cues and it is similar to the concept of a rich channel in
media richness theory. For instance, a high bandwidth channel like a Skype audio visual conference
allows verbal as well as nonverbal communication including facial expressions in text fostering a greater
sense of psychological closeness. In the framework of the theory of electronic propinquity, a phone call
despite providing vocal and temporal cues is considered to offer a modest level of bandwidth. This means
that while it allows for some audio interaction and timing related information, it falls short of creating the
same depth of psychological closeness as communication channels with higher bandwidth. TP's
perspective on bandwidth underscores the significance of having a broader array of cues and channels to
facilitate more profound socio-emotional connections in digital interactions. Mutual directionality in the
context of electronic propinquity refers to the speed at which feedback occurs through a communication
channel. TEP suggests that higher mutual directionality leads to increased electronic propinquity as
channels enabling quicker interactions among communicators foster a stronger sense of closeness. For
example, channels like radio and periscope streams which limit or complicate feedback tend to result in
lower propinquity due to restricted responsiveness. In contrast, instant messengers offer rapid and
mutually directed messaging and therefore, promote high propinquity by facilitating real-time interactions
and discussions among participants. Several factors impacting electronic propinquity are related to
individual user needs and interactions including task complexity, communication skills and communication
rules. Propinquity tends to decrease as users engage in complex tasks which involve intricate or involved
interactions. When users are involved in complex tasks, they allocate more time to processing procedural
and task related communication and thus reducing the attention given to socio-emotional cues. It results
in lower levels of propinquity. For example, during a video conference to discuss a detailed budget,
participants shall focus on financial data only leaving little time for social interactions. In contrast, in less
complex or routine tasks, participants may have more time for relational or off-topic discussions leading to
a sense of increased propinquity. Diversity in media options allows for greater flexibility and variety in the
messages sent and received. Therefore, the two final aspects in the theory of electronic propinquity
deliberate on the communication rules and available media. These aspects are based on the structural
and technical aspects of digital communication. Communication rules refer to the guidelines both
technological and social that govern our interaction. When there are many communication rules in place,
communicators may feel constrained by these rules during their interactions leading to a more structured
or formal communication style that means it would result automatically into less propinquity. On the other
hand, in those media and online environments which have fewer communication rules, users can send a
broader range of messages fostering greater diversity in the sent and received messages. Sheer
availability of communication media imposes restrictions as to which medium will be considered
satisfactory in terms of perceived propinquity. When there are numerous communication rules,
communicators might feel less close due to more structured and formal nature of interactions. For
example, Facebook social norms dictate interactions with known contexts while the Bumble dating app
allows only females to initiate communication limiting the scope of communication. On the other hand,
propinquity decreases when there are more available media choices. This point might seem
counterintuitive at first, but it means that with fewer media options individuals are forced to make the best
use of the limited tools they possess for interpersonal communication. This can lead to more careful
construction of messages resulting in an increased sense of propinquity. This phenomenon is often
observed when a family communicates with those members who live in areas with limited online or digital
availability. Their interaction is more thoughtful and better structured to maximize their communicative and
relational potential. Also, individuals with strong communication skills have the potential to enhance the
propinquity of a medium and their ability to interpret cues, particularly the nonverbal ones in the
messages which are being conveyed by any medium allows them to effectively use the available
bandwidth to encode and understand messages resulting in a greater sense of closeness with the
communication partner. Korzenny had introduced the theory of electronic propinquity in 1978. However,
when he tested the theory in 1981, he had to encounter a deep disappointment as none of the proposed
relationships were supported. The reason for this initial test failure remains somewhat unclear. It could
have been due to the limited range of media available at that time with the 1978 manuscript only reaching
closed circuit camera feeds or more likely the limited engagement of the public with electronic
interpersonal media at that time. However, this setback led to TEP being largely ignored by media and
computer mediated communication researchers and it remained dormant for about 3 decades. In 2008,
Walther and Bazarova reexamined the theory of electronic propinquity bringing back into the spotlight.
Their study utilized experimental groups controlled for alternative communication media and offered
substantial support for TEP's principles. Specifically, their findings confirmed that bandwidth and media
choice significantly influenced electronic propinquity when small groups used multiple modes of mediated
interaction that is text, audio, as well as video channels. The greater bandwidth led to a heightened sense
of social closeness among group members. Conversely, groups assigned complex tasks reported
decreased propinquity levels after their introductions. Walther and Bazarova's 2008 experiment based
research was published with the title Validation and Application of Electronic Propinquity Theory to
Computer Mediated Communication in Groups. It validated the TEP and provided insights into the earlier
findings related to CMC. Before 1992, the prevailing belief was that CMC was a minimalist form of
communication and lacked in richness. However, subsequent research challenged this view suggesting
that CMC could enable meaningful interpersonal exchanges. TEP, as supported by Walther and
Bazarova, explained how even in the absence of face-to-face nonverbal cues, online communication
allowed people to feel emotionally and psychologically close to one another. The limitations imposed by
computer mediated channels actually encouraged users to make better use of the available CMC tools as
they were quicker and more handy so to say. In order to foster psychological closeness in their online
interactions, people fell back on their creativity. TEP challenged the notion that CMC was a minimalistic
form of communication and demonstrated that it has the potential to foster meaningful relationships and
emotional connections. People using CMC channels developed new ways of conveying emotions and
building relationships such as through text, emoticons and other online communication tools. Social
Information Processing Theory, popularly known as SIP, was introduced by Joseph Walther in 1992. It
suggests that people can form deep and socio-emotional relationships through computer mediated
communication. This theory is based on the idea that people are motivated to create rich and profound
impressions of each other regardless of the medium of communication. It highlights that CMC allows
users to create rich impressions of and about each other promoting psychological closeness. It also sheds
light on why individuals use CMC for interpersonal purposes even if they are not consciously aware of it.
As CMC continues to evolve with new technologies and platforms, SIP remains relevant in understanding
how people adapt and employ these mediums to fulfill their innate need for social interaction, emotional
connection and the development of deep socio-emotional relationships. It serves as a reminder that
human communication is not bound by the limitations of the medium, but rather fueled by our intrinsic
desire to connect with others. Social Information Processing Theory predicts that over time users adapt to
the limited cues available in CMC and use them to form rich interpersonal connections. The primary
mechanism of SIP is time, but it is not just about the passage of minutes or days, it is about a sequential
exchange of interactive messages. Building a relationship through CMC requires multiple message
exchanges that reply to each other and advance the communication. Time in the context of SIP is critical
because online communication essentially takes longer than face to face communication. Engaging in
prolonged online interactions offers both individuals more chances to acquire, innovate and adjust to the
various cues and messages that can be effectively conveyed through the medium of computer mediated
communication. Social Information Processing Theory addresses the challenges of communicating
emotions and non-verbal cues in computer mediated communication and comparing it to face to face
interactions. SIP suggests that users adapt to the limited cues in CMC over time finding new ways to
convey and interpret verbal cues that replace missing non-verbal cues. Language plays a role in
conveying emotions online. Users may subtly alter their language and word choice to communicate
feelings even when not explicitly discussing their emotional state. SIP initially focused on text based CMC,
but it remains relevant as communication includes audio visual cues and multimedia also. Profile photos
and imagery can instill a sense of propinquity even before a direct communication begins. Emoticons are
often used in CMC to compensate for missing non-verbal cues. Still the verbal content of a message
often tends to have a more significant impact on interpretation in comparison to emoticons. So, this theory
posits that with sufficient time and interactions, users have the potential to establish and maintain online
relationships that are comparable in quality to those formed in face to face interactions. While SIP initially
emerged when the internet was not widely adopted, it did mark a significant shift in the way scholars
thought about online communication. It challenged the prevailing belief that online interactions were
inherently inferior to in-person exchanges. In fact, some SIP research indicated that online relationships
might even surpass face to face interactions, prompting Walther to propose a model suggesting that
computer mediated communication could excel in surpassing the perception of face to face interactions.
Social information processing theory was initially developed with a focus on text-based CMC as
multimedia and platforms like Zoom, YouTube and Instagram did not exist in 1992. But SIP has proven to
be robust and adaptable as CMC has now evolved to include audio-visual cues and multimedia elements.
Traditionally, communication theories divided communication into mass and interpersonal communication.
New media platforms like TikTok, YouTube, Twitter and blogs blur the line between mass and
interpersonal communication. They enable mass personal communication where individuals use mass
channels for interpersonal communication and interpersonal channels for mass communication or both
simultaneously. Mass personal communication describes the merging of mass and interpersonal channels
and interactions. This transformation in communication practices highlights the adaptability and versatility
of new media platforms. It also underscores the evolving nature of communication in the digital age. In
the digital means, individuals have greater control over how they connect with others, the scale at which
they would like to communicate and the level of personalization they can achieve. Mass personal
communication exemplifies the blurring of boundaries between mass and interpersonal communication
giving unprecedented flexibility to users. Social media especially has made mass personal
communication more accessible and prevalent. Research into the effects of mass personal
communication is emerging now and it is shown that creating messages in a mass personal context can
influence self-perception and relationship dynamics too. Mass personal communication has been explored
in various contexts including online education, relational communication and social support on social
networking sites. The rapid advancement of media tools challenges researchers to catch up with and
comprehend the complexities of interactions in mass personal communication as it changes the nature of
relationships and interactions. In relational communication, people navigate the challenges and
opportunities of building and maintaining relationships within the context of mass personal interactions.
Social network sites have become hubs for individuals seeking social support where users can both share
their experiences with a wide audience and also engage in private conversations. The development of
theories like SIP have contributed significantly to our understanding of how people relate to each other in
the digital age using digital means only. These theories provide insights into how we perceive and
engage in online communication to establish meaningful relationships at the workplace and away from it.
Understanding the technological and communicative differences between online and face to face
interactions is valuable even for digital natives. It allows for a deeper comprehension of mediated
communication which can be applied across various platforms and technologies as they continue to
evolve. In the next module, we shall further explore the elements of interpersonal communication. Thank
you.
with others in a one-on-one setting is a crucial aspect of human life, both face to face as well as digital.
Contemporary social media platforms like Facebook, Local and Meetup etcetera are nowadays commonly
associated with meetings as well as for interacting with others. However, the internet itself has a much
longer history of facilitating and nurturing interpersonal relationships. WELL, the Whole Earth Electronic
Link established in 1985 was one of the first online communities. It still remains active today. Initially as
we have discussed, there were concerns that computer mediated communication might limit social cues
and thus hinder the formation of meaningful connections. However, over time it has become evident that
numerous relationships are indeed formed and maintained in online communication. As a result, exploring
the process through which these online relationships develop and with whom they are formed is essential.
Interpersonal computer-mediated communication or ICMC refers to computer-mediated communication in
one-on-one or small group interactions amongst people. CMC has significantly enhanced interpersonal
communication by providing various tools for direct interaction. The speed of message transmission and
receipt is one of the key ways CMC has transformed interpersonal communication. It allows now real time
communication without both parties being present simultaneously regardless of the geographical distance
between the sender and the receiver. CMC has influenced the level of effort and intentionality behind our
messages. Ranging from purposeful and goal oriented interactions to more effortless and casual
exchanges. Within human interactions, dyadic as well as fatigue interpersonal interactions are significantly
needed to serve various purposes. Let us look further into it. Dyadic communication is sometimes equated
with direct communication. However, it is not necessarily so. Directness or its absence in professional
communication in dyadic or small group situations is always decided by perceptions about the outcome
and the intention of the interactance. Dyadic communication refers to exchanging information, messages
or emotions between two individuals or participants in a one-to-one situation. It is a form of interpersonal
communication that involves a direct and focused exchange between two people. And both participants
play a highly active role as both are senders as well as receivers of the message. It is very often seen in
professional settings such as during job interviews, negotiations and consultations as well as often in
personal relationships. While dyadic communication has always been a fundamental aspect of human
interaction with the rise of social media, messaging apps like email, video conferencing, etc. and other
digital tools, individuals now have access to a wide array of communication channels for dyadic
interactions. These platforms have transformed the way people engage in one-on-one communication.
Whereas some digital communication may lack paralinguistic cues, that is the tone of voice, the volume,
facial expressions and micro expressions through our eyes, etc. Video conferencing and audio calls have
introduced a good level of paralinguistic communication back into our online digital tools. These mediums
allow participants to hear each other's voices and observe facial expression and body language in real
time. And it significantly enhances the richness of the interaction. Dyadic online communication may also
lead to a disinhibition effect where individuals feel less restrained leading to increased self-disclosure and
emotional expression. This phenomenon can deepen intimacy in dyadic interactions but also raises
concerns about privacy as well as online safety. Dyadic communication in the online age is often
complemented by face-to-face interactions through various digital mediums. The online age poses
challenges in terms of privacy and authenticity. It also has the latent possibilities of miscommunication,
especially if we do not use the available range of paralinguistic cues. As technology continues to evolve,
the nature of dyadic communication is likely to undergo further transformations, shaping the way people
form and maintain relationships in the future. Phatic interactions are casual and serve as simple greetings
or acknowledgments like waving to someone nearby. These interactions still convey a message with
minimal effort and with no specific conversational goal. They play a crucial role in building social bonds,
demonstrating social norms and expressing empathy. They are critical in establishing an initial rapport
before moving on to more substantive conversations. They show that you acknowledge the presence and
feelings of others even in the absence of any deep or meaningful conversation. In this way, we find that
phatic interaction contributes to the fabric of social relationships and helps us in creating a sense of
connection and belonging either in our offline behavior or in our online behavior using digital
communication tools. Dyadic as well as direct interactions focus on conveying specific information or
achieving a particular goal while phatic interactions aim to establish and maintain social connections and
politeness. Both types of communication are essential for effective human interactions and can
complement each other in various social situations. Digital media and its variety offers several options in
this context. A new term which has emerged in the context of digital communication recently is lightweight
interaction. Lightweight interactions refer to simple and quick messages that require minimal time,
minimum cognitive effort or commitment to transmit. In the digital realm, social networking sites offer
various ways to maintain relationships through lightweight interactions. These interactions are used for
relational maintenance and are not meant to lead to extensive conversations or deep responses.
However, such interactions are beneficial while we have to deal with friends or colleagues or
acquaintances in the workplace. Social network sites help us in remembering important details making it
easier to maintain relationships without overwhelming temporal or cognitive resources. Digital media
platforms facilitate lightweight interactions through various means. Users can express their engagement
with others content by liking their posts, reacting with emojis or leaving brief comments. Additionally,
sharing humorous or relatable memes, GIFs or internet jokes with friends or online groups also fosters a
sense of comradery. Platforms like Instagram or Snapchat offer short-lived stories allowing users to share
moments from their day or provide brief updates to their followers. Retweeting or sharing posts from
others on social media is another way for users to show agreement, support or appreciation for the
content they have come across. These lightweight interactions play a vital role in social bonding and
staying connected in the digital realm. Paralinguistics in CMC refer to the nonverbal cues beyond the
actual words spoken such as tone of voice, speed of delivery and pronunciation, etc. In conventional face-
to-face interactions, we have seen that these cues are instrumental in conveying our emotions, intentions
and subtleties of messages to the other person beyond the literal interpretation of our words. While text-
based communication dominates CMC, it cannot convey paralinguistic cues in the similar manner or
perhaps as fully as it is done in face-to-face communication. Paralinguistics in CMC is a dynamic process
influenced by the user's experience and the unique communication patterns developed between
individuals or in online communities. Hashtags are a notable example of community specific
paralinguistics in computer mediated communication. They serve as metadata tags to categorize and
organize content around a particular topic or theme. Hashtags in CMC serve various purposes like
emphasizing emotions, sarcasm and humor, self-depreciation, social commentary, memes and inside
jokes. They now convey additional meanings and emotions beyond the literal words used in the hashtag
itself. As users become more familiar with each other's communication style, they co-create meanings and
interpretations of paralinguistic cues. Social information processing theory explains how users become
familiar with each other's communication style and develop unique understanding of paralinguistic cues.
The same phrase can have different meanings based on the receiver's interpretation of the sender's
unique paralinguistics, making the use of paralinguistics in CMC highly nuanced and context dependent.
Paralinguistic cues in CMC create a more expressive communication experience. They allow individuals
to convey emotions, attitudes and intentions in a manner which is similar to face to face interactions even
in the absence of spoken words or vocal tones. As a result, understanding and effectively using these
paralinguistic cues are vital for effective and nuanced communication in digital environments.
Paralinguistic digital affordances are simple cues commonly used in social media platforms for lightweight
communication. Paralinguistic digital affordances or PDAs allow users to respond quickly to user
generated content with minimal effort indicating their approval or enjoyment of a post. While PDAs often
have associated verbiage to explain their use, users may not always interpret them as intended by the
designers of the platform itself. For example, people may use likes in response to a sad or a negative post
to express their support rather than literal enjoyment or a genuine liking. Liking a post can serve as a
phatic form of communication indicating that you like the post or you acknowledge having seen it. It can
express affinity toward the poster, help you index or save content and even act as a form of public self-
display. Using characters to represent actions or movements also known as text based gestures such as
hugs or waves can add a personal touch to digital messages. The use of onomatopoeic words like buzz or
ping or ding can mimic real word sounds and add a playful or interactive element to communication. While
not strictly paralinguistic in the traditional sense, voice and video messages allow users to convey tone,
emotions and personality through their voice and facial expressions. In online communication, ellipses,
emoticons, emojis, likes and other digital cues are also used to convey paralinguistic meanings and
suggestions. However, interpreting these cues depends heavily on the context and the individual
relationships involved. Much like interpreting nonverbal cues in face to face communications. How these
cues are used and understood online is influenced by prior interactions with each individual. Despite early
skepticism about the transmission of nonverbal cues in CMC, users have adapted to the digital channels
and effectively utilized cues to convey information, emotions and their sentimental nuances in their
written communication. The development of CMC tools has also brought about a substantial shift in how
we sustain our relationships, introducing the concept of passive observation. In offline face to face
interactions, we often employ passive uncertainty reduction strategies by discreetly observing the
behavior and actions of our friends, colleagues and family to understand them better. This can include
noticing their habits, preferences and how they interact with others in various social settings. Similarly, we
use extractive uncertainty reduction strategies in the online realm, which involve purposefully seeking
information about others through digital traces and records of their online activities. Using social media to
find partners has become increasingly popular in the digital age. Related platforms focus on serving
particular groups of people such as those with shared hobbies or lifestyles. Niche dating sites allow
individuals to find potential partners with whom they have a strong common interest or connection, making
the dating experience more meaningful. Active information seeking commonly known as extractive
information seeking encompasses the deliberate exploration of online sources for data pertaining to a
particular individual. This practice holds substantial sway over relationships, particularly during their initial
phase. Through the collection of data from various online platforms like social media profiles, class
discussion forums or tagged photographs on platforms like Facebook, individuals can promptly gain
insight into others, establish a preliminary perception and shape their interactions accordingly. Extractive
information seeking is also relevant in established relationships, as it may sometimes enhance
confidence in these connections. Platforms like Letterbox for films allow users to create and share movie
lists and reviews by browsing through someone's movie diary or favorite films. One can gain insights into
their preferences and interests and this can lead to meaningful discussions. Such platforms serve as a
means of entertainment and also as a gateway for users to understand each other's passions and
hobbies. The process of extractive information seeking can be both intentional and unintentional.
Intentional seeking happens when individuals actively look for specific information, while unintentional
seeking occurs when information is encountered while browsing or interacting online without a specific
search objective. While extractive information seeking can provide valuable insights and help us to make
informed decisions about our relationships and professional connections, it is essential to respect the
privacy and boundaries of other people also. Sometimes unintentional information exposure can also
lead to misunderstandings or misinterpretations making it essential to communicate openly. Extractive
information if practiced ethically can facilitate and foster a deeper understanding in both new and existing
relationships. Relational development spans the entirety of the interpersonal connections journey and can
be comprehended through the relationship escalation model which was proposed by Mark I. Knapp in
1978. The efficacy of this model is validated in digital means of communication too by later date
researchers. Relationships frequently experience shifts across various stages. Progression through these
stages is typically in a sequential fashion although some stages may be relatively brief. In the midst of this
journey relational maintenance efforts predominantly come into play during intermediate stages and this
involves endeavors to establish stability and to normalize the interpersonal dynamics between individuals.
Notably, the model maintains its descriptive relevance to relationships irrespective of the medium
employed to cultivate or to conclude a relationship. In the formation phase relationship progresses from
initiating to experimenting to intensifying to integrating to the final bonding. Bonding suggests a public
recognition of the relationship. The coming together phase is the initial stage of relational development
where individuals start to build a connection. This phase is characterized by increasing emotional
closeness and commitment as the individuals get to know each other better. It also sets the foundation
for the relationship to progress further. In the termination phase relationships move from differentiation to
circumscribing to stagnation to avoiding and lastly to terminating which is ending communication as well
as the relationship. The coming apart phase is challenging and it often leads to the dissolution of the
relationship. Similar to offline relationships having their own dynamics, online relationships also give rise
to unique and dynamic phenomena for studies. The preferred medium or any changes in this choice as
well as numbers in online relationships shape how people connect, interact and form meaningful
connections in the digital realm. The balance and combination of these factors determine the complexity
of online social interactions. Modality switch in the context of communication refers to the transition from
one mode of communication to the other. This switch occurs when individuals shift from using one
communication channel or medium to another in order to continue or to reshape their interaction. The
term modality refers to the specific form or means of communication such as face to face, phone, text,
video, email, etcetera. These switches can impact the dynamics of communication, the level of
engagement, the amount of contextual information available and the overall effectiveness of the
interaction. For instance, during an online meeting, participants might decide to switch from text-based
chat to voice or video conferencing to facilitate real-time discussion and to have an improved
communication. However, it is also important to consider potential barriers and challenges related to
modality switch such as technical issues, compatibility between different platforms and the need for
agreement or coordination among participants. It similarly works of course in online private relationships.
Media multiplexity is another concept in communication studies which we must understand. The concept
refers to individuals using multiple connection channels or media to interact with other people. The theory
of media multiplexity was proposed by Caroline Hathorn-Witt in 2005. It is based on the idea that different
communication channels offer unique affordances and each channel serves different purposes in the
relationship. Some channels might be better suited for certain types of communication while others may
offer different levels of richness in EGC or control. Hathorn-Witt's theory also suggests that we can map
out what our relationships look like in a social network. This provides a theoretical rationale for why
technology can strengthen relationships either at the workplace or amongst friends. It suggests that the
more technological connections or multimodality an individual has with other partners, the stronger that
relationship is. The term multiplexity comes from the idea of having multiple interconnected channels or
layers of communication. The media multiplexity theory highlights the complexity of modern social online
communication means emphasizing that individuals maintain social ties through a diverse range of
communication platforms rather than solely relying on a single platform. In the context of digital and online
communication, we must also be aware of the significance of ambient awareness. The idea of ambient
awareness refers to being continuously and passively aware of people's ongoing activities, thoughts and
updates in our social and professional networks, typically through social media and various online
platforms. Continuous exposure creates a sense of ambient or background awareness of what is
happening in the lives of others even without direct communication or any specific intent to keep track of
their activities. The concept of ambient awareness is closely tied to the nature of social media and can
have both positive and negative effects. On one hand, it can foster a sense of social connectedness,
allowing individuals to feel more involved in the lives of their peers and reducing feelings of isolation. On
the other hand, constant exposure to others lives and updates can lead to information overload and may
also generate feelings of social comparison. Additionally, some may argue that ambient awareness can
create a false sense of intimacy as it may not replace the depths of interpersonal relationships formed
through meaningful and concentrated interactions. A latent tie in the context of social network analysis
refers to a potential or unactivated connection between two individuals or entities. Unlike an active tie,
which represents an established and recognized relationship, a latent tie exists in a dormant or potential
state. The concept of latent ties is essential in understanding social networks because it highlights the
untapped connections that could potentially develop into active ties in the future. These latent ties may
emerge due to various factors such as shared interest, common acquaintances or geographic proximity.
The concept of latent ties highlights the idea that social connections are not always apparent or
immediately visible. It emphasizes the potential for building new relationships and expanding social
networks. Computer mediated communication can create memorable interactions because it offers novel
and unconventional ways to engage with others. CMC can add a layer of creativity and personalization to
digital interactions, making them more memorable compared to standard or routine communication.
However, while CMC allows for memorable interactions, it does not necessarily expand the number of
meaningful relationships that individuals can maintain. In essence, CMC facilitates a larger range and
assists us to find unique ways to interact with a more extensive circle of people, extending the possibilities
of richer ties. In the upcoming week, we will discuss intrapersonal communication and how its boundaries
are becoming porous in the context of digital communication. We will also discuss the hyperpersonal
model which bears relevance to both inter and intrapersonal communication. The concept of
hyperpersonal communication describes the way in which online communication sometimes surpasses
the level of affection and emotion of parallel face-to-face communication. Therefore, it is more imperative
and expedient in the context of digital communication along with an understanding of novel approaches to
intrapersonal communication.

WEEK 2
Good morning dear friends and welcome to this module. Today, we will explore the concepts of
intrapersonal communication facilitated by digital technology. While CMC or computer mediated
communication is typically associated with interpersonal communication that means communication
between two or more people, intrapersonal CMC involves communication with oneself often in a digital
format. Intrapersonal CMC refers to communication that occurs within an individual's own mind through
the use of computer based technology. It remains a less explored area of communication despite being
fundamental to all other forms of communication digital or otherwise. One debated aspect is how
intrapersonal communication differs from psychology. Some critics consider it as a communicative
concept involving language to interact with oneself, while others view it as an extension of interpersonal
communication where the individual is both the sender and receiver of messages. Forms of intrapersonal
CMC leverage digital technology to assist individuals in organizing their thoughts, managing information
and expressing themselves privately. They can be valuable tools for personal productivity, self-reflection
and creativity. Let us explore some representative instances of such computer mediated intrapersonal
communication. We can refer to online personal journals and blogs. As an example of intrapersonal CMC
outlets, they enable private or public expression of thoughts, feelings and experiences. Similarly, note-
taking apps and voice or video memos on smartphones and computers also offer digital tools for
intrapersonal CMC, aiding in the organization and capture of thoughts, to-do list, ideas, reminders and
reflections. Similarly, drafting posts, tweets or messages on social media platforms, but not actually
sharing them with others is also a way to use CMC for self-expression or self-reflection. Some people
also create their personal wikis or knowledge bases using tools like Tiddly Wiki or Notion. These are used
for organizing and storing personal information, ideas and knowledge. Task management tools like
Asana, Todoist and calendars such as Google or Apple Calendar aid in personal goal setting, progress
tracking, appointment scheduling and effective time management. WhatsApp, recognized so far as a
popular tool for interpersonal communication, has recently introduced a feature allowing users to leave
personal messages for themselves. This capability is also prevalent in other messaging platforms like
Instagram and Telegram, which are well-known messaging platforms that are primarily designed for
interpersonal communication between friends and contacts. Users typically use these platforms to send
messages, share media and engage in conversations with others. However, now these platforms have
also recognized the value of allowing users to communicate with their own selves, which falls under the
category of intrapersonal computer mediated communication. Intrapersonal CMC online offers a
convenient and accessible way for individuals to explore their thoughts, emotions and experiences,
providing an opportunity for self-discovery as well as introspection. Unlike public forms of communication,
it is private by nature, allowing us to maintain confidentiality and security for personal thoughts and
information. Intrapersonal CMC tools offer convenient access across devices for jotting down thoughts,
setting reminders and capturing ideas whenever inspiration strikes. While some serve as a platform for
creative expression and brainstorming, they also aid as a therapeutic outlet for emotional expression and
stress relief. Sending messages to oneself through such platforms can offer guidance and motivation. It
also helps in personal growth and goal achievement. Intrapersonal CMC is closely connected to identity
as it provides a medium for self-expression, exploration and documentation of personal growth. It also
allows us to create shape and reflect upon our digital identities, which may align with or differ from our
offline identities. Additionally, Intrapersonal CMC plays a role in how individuals manage their privacy and
have a control over their online persona. It influences how they present themselves to the digital world.
Identifiability refers to how known and distinguishable individuals are when they are communicating with
each other online. It can range from identifiable, where the sender's identity is clear and persistent, to
anonymous with pseudonyms falling between. In identifiable communication, the sender typically uses
their real name or a consistent username. This transparency fosters trust and accountability in online
interactions and it also allows individuals to establish and maintain a reputation tied to their online identity.
While pseudonyms provide a level of privacy by concealing the user's true identity, they also create a
consistent online persona that others can recognize. Knowing who the communicators are online can also
influence communication patterns similar to offline interactions. Identifiable communication encourages
individuals to be more mindful of their communication choice and can reinforce offline communicative
patterns and roles. Identifiability can be enhanced through the inclusion of detailed profile information.
We may provide personal information such as profile pictures, location and contact details and it makes it
easier for others to identify and connect with us online. In professional digital networks like LinkedIn,
comprehensive profiles promoting professional backgrounds and accomplishments are encouraged to
build credibility and trust. People have more control in an online environment over how they identify
themselves, allowing them to choose the characteristics they want to consciously display. This curated
identity is a deliberate presentation of one's professional background, skills, achievements and personality
traits designed to influence how others perceive and interact with them. When individuals meticulously
craft and maintain their online profiles, they construct a distinct image or persona that not only mirrors
their professional identity, but also wields a significant influence on their interactions and communication
within the digital environment. This influence extends to platforms where verification badges or symbols
are employed to authenticate user accounts, a practice predominantly reserved for renowned individuals
or entities, reinforcing their identities with an additional layer of authenticity. Disinhibition effect in this
context refers to the phenomenon where individuals display more uninhibited, impulsive or aggressive
behavior in online environments in comparison to their face-to-face interactions. This behavioral change
is attributed to the perceived anonymity associated with online interactions which reduces the fear of
social judgment, accountability or repercussions. In online communication, social cues are also either
limited or absolutely absent and it leads to a decreased self-awareness and also a decreased self-control.
Individuals may feel freer to express their thoughts, feelings and opinions without the constraints of social
norms or fear of immediate consequences. A sense of de-individuation where individuals feel less
identified as unique individuals and more as part of a group or crowd can further accelerate the
disinhibition effect. The sense of liberation enables them to delve into various facets within the realm of
immersive digital spaces and test out behaviors that they may be hesitant to exhibit in real life situations.
The phenomenon of self-expression leads to users often experiencing a sense of liberation which allows
them to experiment with different facets of their personality. Such experimentation in VR resonates with
the core concept of intrapersonal CMC. Individuals employ digital tools to engage in self-communication
and particularly in the context of VR explore diverse dimensions of their identity. Online support groups or
mental health communities can benefit from the disinhibition effect as individuals may feel more
comfortable discussing personal issues or seeking help for their emotional challenges. Individuals may
often use it as an opportunity for self-exploration and self-expression where they may experiment with
different identities or facets of their personality in an online fashion. In online group settings, the
disinhibition effect can lead to the formation of tight-knit communities as members bond over shared
experiences and emotional openness. On the negative side, the disinhibition effect can also lead to more
negative behaviors including cyber bullying, trolling or engaging in harmful online activities. It is evident in
online communication where time delays and physical distance between users diminish feelings of
empathy and personal connection sometimes resulting in aggressive behavior. Additionally, the
perception of an online audience as a strangers may contribute to this effect as we may feel less
accountable for their actions. While the disinhibition effect can foster openness and connection, it is
important for us to exercise caution and have some ethical responsibility in our online interactions to
prevent harmful behavior or unintended consequences. The use of pseudonyms is also popular. With
pseudonymous, the messages source is distinguishable and persistent but it does not represent the
offline sender in a faithful fashion. A pseudonym as we understand is a fictitious identity or a persona that
individuals adopt and messages can be attributed to the same source over a passage of time.
Pseudonyms are commonly employed for various purposes including online identities, authorship or
artistic expressions. Unlike anonymity, pseudonyms involve using a consistent and recognizable fictional
name. Pseudonyms have been used in various media including radio, literature and gaming to explore
alternate identities or to protect privacy. Grumpy Cat whose real name was Tardar Sauce was an internet
famous cat owned by Tabatha Bundesen. She managed her online presence and used her fame to create
merchandise including t-shirts, mugs and other products. Grumpy Cat also made numerous appearances
on television and even starred in her own lifetime movie Grumpy Cat's Worst Christmas Ever. Anonymity
on the other hand allows individuals to explore different identities and act out hidden aspects of
themselves that they may not be comfortable expressing offline. Anonymity can be achieved through
various means such as using a pseudonym or handle, browsing the internet through virtual private
networks or VPNs or participating in discussions on social media or online platforms without revealing
personal information. Anonymity is crucial in cases of whistleblowing where individuals report wrongdoing
or unethical behavior within organizations or institutions to protect themselves from retaliation. It can
therefore shield individuals from potential harassment, cyber bullying or stalking by preventing others from
easily identifying and targeting them. However, it can also lead to challenges in maintaining
conversational coherence when users cannot track who said what. One of the most famous anonymous
online identities is Satoshi Nakamoto. The pseudonymous person or group responsible for creating
Bitcoin, world's largest and the first decentralized cryptocurrency. In 2008, a white paper was published
under this name outlining the concept of a digital currency and the underlying blockchain technology. To
this day, the true identity of Satoshi Nakamoto remains unknown. Whereas individuals have been
speculated to be the creator of Bitcoin, but no concrete evidence has ever been provided. We should also
be aware of the difference between self anonymity and other anonymity. When someone maintains self
anonymity, they intentionally avoid revealing personal information that could be used to identify them in
real life. In many online platforms, individuals interact with others using self anonymity, creating a sense of
detachment or distance. Other anonymity refers to an individual's interaction with anonymous others who
use pseudonyms or usernames. For example, in situations of whistleblowing, journalists may use other
anonymity to shield the identity of their sources. Self anonymity is often adopted for privacy, security or
personal preference, while other anonymity is usually employed to protect individuals from potential harm,
retaliation or exposure. Both self anonymity and other anonymity can impact the level of trust, openness
and the overall tone of discussions within digital spaces. Joining online gaming communities with a gamer
tag or avatar that conceals the player's real identity can be viewed is an example of self anonymity. On
the other hand, responses to anonymous surveys or feedback forms where the person collecting the data
does not know the identity of the participants can be characterized as other anonymity. Let us also look at
the difference between physical anonymity and discursive anonymity. Physical anonymity refers to a
situation where a person's physical presence is hidden or not easily identifiable in a given context. This
can range from using avatars that may not resemble their actual appearance to using voice changes to
alter their voices, digital artwork or logos without any direct connection to their real life identity. Discursive
anonymity involves concealing one's identity through language or communication patterns without
necessarily hiding physical attributes. Discursive anonymity is often used in online forums, social media or
public discussions where individuals may want to express their opinions, ideas or critiques without
revealing their true identity. Both forms of anonymity serve specific purposes. They are utilized in various
contexts to safeguard personal information or to enable more candid and open interactions. Contributing
to collaborative projects or online platforms under a collective work group identity rather than individual
names is a form of discursive anonymity. This approach can foster a sense of belonging, can encourage
collaboration and focus on the shared objectives or values of the group. However, it may also raise
concerns about accountability and responsibility as individual actions may not be directly attributed to a
specific person within the group. Everyone who utilizes the internet, mainly social media platforms,
possesses an online identity and may also possess multiple identities. Your online identity is a compilation
of all the digital traces that you leave across the internet. The concept of identity online involves various
dimensions of the self including the actual self, the ideal self and the ought self. The actual self is how one
perceives oneself to be. The ideal self refers to the self which one aspires to be and the ought self is the
self perceived as needed in each context. Online dating provides an example of strategic self
presentation where individuals create profiles as valuable or necessary that represent their ideal selves
rather than their actual selves. This process is done under the auspice of the ought self presenting
attributes that are perceived in the dating context. The actual self includes internal aspects such as
personality traits and emotions as well as external aspects such as physical appearance and societal
roles. The actual self is how individuals see themselves in the present and the accurate representation of
who we are in the virtual space. In digital environments, the actual self refers to an individual's perception
of their real or current identity as it exists within the context of the internet, social media and online
communities. While people may carefully manage their digital presence, aspects of their true selves still
come through in their online interactions such as spontaneous reactions, emotional responses or
moments of vulnerability. Being mindful of one's digital footprint and maintaining authenticity are important
aspects of representing the actual self in the digital realm. Individuals who maintain personal blogs or
express their actual selves by sharing their experiences, emotions and stories find that these platforms
provide an outlet for authentic self-expression and they also are able to attract like-minded audience.
Apps and platforms dedicated to mental health such as therapy apps or support groups encourage users
to express their actual emotions and challenges towards fostering better support and understanding. In
comparison, the ought self is the self that aligns with social norms, expectations and responsibilities. The
ought self represents the ideal self in the sense of being the self that is perceived as needed or valuable
in a specific situation. This can be influenced often by societal norms, the expectations of the community
or workplace demands in online professional settings. People may conform to online norms or social
conventions to align their digital behaviour with perceived obligations or expectations. Online platforms
often invite social comparison where individuals compare themselves to others which influences how
people present themselves to be perceived favorably in comparison to others. The ought self might also
arise from a desire to maintain a positive online reputation and it can lead individuals to avoid
controversial topics or post that can be perceived negatively by others. Self-presentation in digital
communication entails balancing authenticity with the need to create a specific impression. Taking social
norms into account, it is about representing oneself honestly while adapting to different contexts. Whether
online or in person, individuals often form initial impressions. They are based on how they present
themselves and this presentation can vary depending on the specific context such as professional, social
or online friendly interactions. Ideal self is the self that individuals strive to be and it may involve personal
goals, aspirations and desires for self-improvement. People may use social media to showcase
achievements, positive experiences and attributes they aspire to or are perceived as having. The ideal
self online is the projection of how we want to be seen by others in the virtual world. Personal branding
requires individuals to strategically present themselves in a way that highlights their strengths and unique
qualities often aligning with their ideal self. Individuals use personal branding strategies to stand out, to
build credibility and showcase their progress towards becoming the person they aspire to be. It often
involves crafting a consistent narrative towards a unified and coherent image of oneself across various
platforms and interactions. In the online environment, the gaps or congruence between the ideal self,
ought self and actual self can have significant implications for individual well-being and relationships. The
self-discrepancy explains how discrepancies between self representations can lead to emotional
vulnerabilities. In this context, we would further refer to the self-discrepancy theory developed by Edward
Higgins in 1987. It assigned specific emotions and effects to these disparities providing a deeper
understanding of their emotional impact. So there may be initially discrepancies in self-concept, actual or
own versus actual and other. Discrepancies between how one sees oneself and how one thinks others
see them can lead to identity crisis, guilt and shame. There may be discrepancies in self-guide, actual
and own versus ideal and own. In this context, when one's attributes do not align with their desired
attributes, it can result in dejection related emotions like disappointment and dissatisfaction. In the actual
own versus ideal other scenario, when one's attributes do not match with significant others' hope for them,
it can lead to dejection related emotions like shame, embarrassment and feeling downcast. In actual own
versus ought other situation, if one's actions do not meet significant others' expectations, it can result in
agitation related emotions such as fear or feeling threatened. There are also discrepancies between the
ideal and the ought selves. These discrepancies can lead to different self-regulatory behaviors with the
ideal domain predisposed to approach behavior and the ought domain predisposed to avoidance
behavior. Higgins theory also introduces the concept of the feared self, a domain measuring what does
not want to become. The availability and accessibility of self-discrepancies determine their impact with
highly accessible discrepancies producing more intense emotions. Self-discrepancy theory has been
applied to various psychological problems including career choice, depression, eating disorders and
procrastination. Since its inception in 1987, studies have explored the validity of self-discrepancy theory.
While some findings have contradicted aspects of the theory, others have proved further support for its
validity. For example, a study in 1998 questioned the direct link between specific internal discrepancies
and unique emotional discomforts, suggesting that various discrepancies can lead to a range of
discomforts. On highly identifiable social media platforms, individuals often present a lowest common
denominator self, that is a simplified version of themselves consistent across multiple social context. This
lowest common denominator self is often perceived as the most accurate representation of their
characteristics. The lowest common denominator self is a balancing act that represents a core self-
consistent across different social circles and is perceived as relatively neutral and inoffensive. People
may dilute their true personalities, opinions of values to avoid offending or alienating anyone resulting in a
version of themselves that is less authentic or less expressive of their individuality. It may prioritize
surface level interactions and conversations to maintain a broad appeal. Individuals may seek approval
and validation from others, making decisions based on what they believe will garner the most positive
reactions. The concept of the lowest common denominator self is closely related to the idea of inclusive
communication. It aims to ensure that all individuals regardless of their backgrounds, perspectives or
identities can engage with and understand the content or message being communicated. Intrapersonal
computer mediated communication is thus a dynamic and multifaceted domain of digital interaction.
Intrapersonal computer mediated communication plays a vital role in the digital landscape, offering
individuals the means to express themselves authentically, to stay organized and connect with their inner
thoughts and emotions. It has furthermore transformed the way individuals explore and present their
identities in the digital realm and it is closely intertwined with authenticity, self-presentation, personal
branding and the management of multiple identities. However, intrapersonal CMC also comes with its set
of challenges. Challenges like the disinhibition effect where individuals may exhibit behaviors online that
they would not in real life settings, managing online identities and ensuring ethical responsibility are
crucial considerations in this digital realm. In the next module, we shall further elaborate on different
approaches to digital identity in terms of its production, management and analysis.

However, studies pointed out that these platforms framed how users presented themselves and self-
presentation on personal web pages was seen as a composite phenomenon that allowed for intrapersonal
that is self-narrative, interpersonal that is linking to other pages and dynamic that is updating content and
these three aspects were taken in this context. Let us look at different approaches to digital identity. The
first approach we will discuss is the expressive approach. This is the creative process through which
individuals use cutting as digital technology to convey and embody their identity. Web 2.0 and SNS
contributed to digital expressivism characterized by the construction of subjective personal and original
content. Individuals engage in various online practices from intimate narratives to cultural expressions
seeking recognition and identity construction. Digital expressivism encompasses self-expression through
personal narratives and the endorsement of individual lifestyle choices as well as through the diverse
array of cultural and media creations. This includes sharing amateur endeavors seeking recognition and
participating in digital public discourse within identity work individuals engage in various creative online
activities as a means to forge their unique identities. These activities revolve around producing content
and gaining recognition from an audience ultimately contributing to the formation of their individuality. For
example, musicians and composers can create and share their music through digital platforms such as
SoundCloud, Spotify or YouTube allowing them to express their emotions and ideas through music.
Another approach we refer to is the technicist approach. Fanny Georges has examined the impact of
technical features on the organization of digital identity practices. She has talked about three categories of
digital identity that are declarative, active and calculative. Declarative identity encompasses elements that
users input and upload themselves such as the information they fill in on their profiles or the blog posts
they share on their walls. Active identity pertains to messages and notifications generated by the system
regarding as users activities. For examples, notifications like X and Y are now friends fall under this
category. Calculated identity involves aggregating and presenting numerical data recorded by the system
such as the number of friends a user has or the number of groups they are a part of. Quantified self
routines involve individuals using digital platforms to monitor and measure various aspects of their life. It
serves as a method for self-examination where users leverage the calculated identity matrix to gain
insights into their behaviors and progress. The concept of quantified self routines emerges from calculated
identity and is exemplified by practices such as the widespread use of wearable fitness gadgets like Fitbit
or smart watches which enable individuals to monitor parameters like physical activity or sleep patterns
etcetera empowering them to establish daily goals and monitor them as part of their effort to enhance their
lifestyle. The third approach is referred to as visibility approach. Dominique Cardon underscores the
significance of visibility when it comes to self-expression in the digital realm. He emphasizes that the
creation of one's digital identity is a collaborative effort shaped by both these strategies employed by the
platform itself and the tactics employed by the user. He categorizes different modes of online self visibility.
The first mode he mentions is to hide to be seen. In this mode, individuals actively conceal certain
aspects of their personalities of themselves while consciously presenting other aspects. So, it is a
selective form of self presentation where users choose what to reveal and what they want to keep hidden.
For this purpose, users may employ filters or image editing tools on their social media photographs to hide
blemishes, imperfections or other features they wish to conceal while presenting a curated and more
attractive image of themselves. This mode of online self visibility demonstrates the conscious control
people exercise over their digital identities. The next mode is termed by him as to be seen hidden. This
mode involves individuals who want to maintain a degree of anonymity or secrecy while still being visible
in some capacity. They may use pseudonyms or keep certain details concealed, yet they actively engage
in online activities. The third is to appear hidden. In this mode, individuals may give the impression of
being hidden or being anonymous even though they are in fact quite visible. They might use avatars,
nicknames or other methods to create a sense of obscurity. Fourth is everything shown, everything seen.
So, this mode involves complete transparency and openness. Users in this category willingly share all
aspects of their personalities in an online manner leaving nothing hidden or concealed from the public
eye. These different modes of online self visibility illustrate how individuals navigate the digital space to
express themselves while managing the level of personal information and identity they choose to reveal or
to conceal. Cardon's framework sheds light on the complex ways people negotiate their online presence
as well as visibility in the digital era. Another concept we refer to at this stage is the logic of self
deprivatization. This concept refers to the process of constructing digital identities on social networking
sites by deliberately sharing aspects of oneself that were once considered private. This phenomena is not
haphazard, but rather strategic as individuals aim to garner an audience and to gain recognition thereby. It
can be in the form of a modest exposure where individuals may share some personal information or
experiences, but they do so in a cautious and in a rather reserved manner. For example, someone might
post occasional updates about their hobbies or interest without disclosing very openly details about their
personal lives. It can also be done in a manner of playful exhibitionism. This category involves users who
enjoy showcasing themselves in a playful or in an attention grabbing manner. Other approaches are
mainstream exposure, bodily immodesty and trash provocation. Users who fall in the category of
mainstream exposure are more inclined to share content and aspects of their lives that align with widely
accepted norms and values. So, they may post about common experiences like food, travel, family
etcetera and this approach normally does not challenge societal conventions and norms. A bodily
immodesty refers to those users who engage in self deprivatization by sharing intimate or overly personal
aspects related to their bodies, health or physical appearance etcetera. We can cite the example of
platforms like Onlyfans and several others in which some users try to sell or purchase original content with
elements of eroticized performances. Trash provocation refers to the users who intentionally challenge
social norms and boundaries by sharing content that may be considered shocking, unconventional or
controversial. The approach of trash provocation can be polarizing, but it can also attract a dedicated
following. In each of these categories, individuals strategically choose the level and type of self
deprivatization that aligns with their goals and desired online persona. Whether it is maintaining a sense of
privacy while engaging with an online audience or deliberately challenging societal norms to gain
attention, these practices are calculated efforts to shape and present one's digital identity. Let us now
look into some aspects of identity management in the context of digital communication. In our discussions
of identity management, we would first of all refer to the concept of Sherry Turkle about the identity
laboratory. Sherry Turkle suggests that digital identity is not fixed, but is being continually shaped by
technology as well as by the social environment in which individuals interact. In this context, users often
switch between different online tools and platforms creating a continuous sense of co-presence which
enables them to explore and reinvent themselves in various virtual contexts simultaneously. Anonymity in
virtual worlds like second life allows users to construct different identities. Social digital networks provide a
means to discover and test one's identity through avatars participation in online communities or content
creation. However, the influence of technology on identity can sometimes lead to validation seeking
behavior impacting the construction of one's identity. Turkle's idea of identity laboratory emphasize that
digital identity is not static, but fluid and dynamic, it is shaped by both the technologies people use and the
social context in which they are engaged with each other. Users also have the ability to experiment with
and reinvent their identities in virtual spaces, but they are also influenced by the desire for validation and
recognition in these online environments. This view recognizes the intricate interplay between technology
and the construction of one's digital identity. Let us look into the management of multiple identities,
demonstration and self-projection. The concept of self-projection challenges the idea of the identity
laboratory and suggests that individuals actively manage their digital identities by sharing varying degrees
of personal information with others. This perspective emphasizes that people aim to communicate, share
and expose themselves online while actively controlling the information they disclose. Cardon notes that
internet users often diverge personal information and explore new online communities reflecting a tension
between their real life attributes and their online projections. Visibility can also take different forms from
hiding to certain aspects to showcasing everything. The boundary between the real and the virtual world
remains to be porous. It remains to be porous as individuals recognize that their online profiles may
represent an improved version of themselves, but not necessarily in conflict with their real world
identities. Critics argue that the real versus projected access fails to capture the interactive nature of
identity processes and the limited control individuals have. They also note that the being versus doing
access contradicts existing literature on self-presentation. Online dating exemplifies the complexities of
self-presentation. Some users opt for honesty while others misrepresent themselves due to constraints,
desires or preferences. Assessing someone's identity in an online communication involves interpreting
conflicting signals. Users should strike an ethical balance between showcasing their best selves and
revealing their true identities. Let us look at the interactive loop which exists in the context of self-
construction and self-projection. The two approaches which we have discussed earlier are not necessarily
contradictory to each other. Users navigate between them in a dynamic process of self-construction and
self-projection. For example, users construct their identities through both collective and individual
processes. Virtual worlds like Second Life and social networks like Facebook exemplify this interactive
loop. Users can choose the level of exposure from complete anonymity to full disclosure of real-life
information. Anonymity in virtual environments can paradoxically lead to greater intimacy as it allows
individuals to reveal their true selves without the constraints of the physical world. Users define their
identities in relation to their social groups, but active participation in these groups may also reduce
anonymity. Tension exists between anonymity and the desire to develop social relationships and construct
one's identity in relation to others. The physical world can sometimes limit what people are willing to
reveal about themselves and people use platforms like Second Life to meet new individuals, express their
ideas and maintain their reputation while navigating a tension between anonymity and the desire to
establish social connections and construct their identity in relation to others. Ultimately, the development
of the virtual world depends on tolerance and experimentation. Highlighting the complex interplay between
identity, social interaction and the digital realm. The concept of identity trial refers to the process through
which individuals test and experiment with different aspects of their identity, often in a safe and
anonymous environment to explore new facts of themselves that they may not express in their everyday
lives. In an identity trials, individuals deviate from their established self-concept or social roles to explore
potential identities that individuals may wish to incorporate into their actual selves in the future. Online
platforms in virtual communities are common spaces where identity trials can take place because they
offer a degree of anonymity and distance from one's offline identity. The experimentation allows them to
evaluate and experience leading to self-discovery and self-awareness. For example, someone struggling
with their gender identity may experiment with different gender expressions and pronouns online,
providing them a safe space to explore their feelings and better understand their own inclinations.
Similarly, individuals may test out interests or hobbies that they do not usually engage in. Therefore,
pseudonyms or anonymous settings can play a crucial role in facilitating identity trials. Identity trials also
highlight the flexible nature of identity. They emphasize that identity can adapt and evolve over time as
individuals explore and discover new aspects of and about themselves. Engaging in identity trials can lead
to learning experiences and have a better understanding of oneself. It can also foster empathy and lead
to a greater appreciation for the diverse identities and perspectives of other people also. Individuals often
cultivate distinct identities for different online communities as these virtual spaces provide a unique
context for identity creation and therefore offer valuable resources for nurturing and exploring these
identities. While identity trials can be personally enriching, they also raise several ethical questions
especially when they involve deceptive or harmful behavior. Ethical considerations for identity trials
revolve around principles of honesty, responsibility, respect for others and adherence to community
norms. It is important for individuals engaging in such trials to carefully reflect on the potential
consequences of their actions and they should also strive to conduct themselves in a manner that aligns
with ethical values and principles of social behavior. Now, we will refer to Goffman in the context of digital
identity. Goffman's theory is important in the context of digital communication. We will also take it later on
while we shall discuss the idea of digital avatars and impression management as well as subtext in digital
information. Irving Goffman is a prominent sociologist and he has explored the concept of expressiveness
and its impact on how individuals are perceived by others. His book, The Presentation of Self in Everyday
Life is a well-known work. He has identified two key forms of expressiveness, explicit and implicit
expression. Explicit expression refers as we can make out to the direct and overt ways in which we
convey information about ourselves. It includes the words we use, the information we share verbally and
the explicit messages we are communicating on various forums. For example, when someone is
specifically talks about their interests, experiences or opinions they are engaging in explicit expression.
Researchers from Temple University, USA have explored identity construction on Facebook and have
discovered that users tend to establish their identities implicitly rather than explicitly. This is the finding of
a 2008 research work by Zhao, Grasmuck & Martin. Instead of making direct verbal statements, such
users reveal their identities through indirect means like posting specific photographs, expressing
preferences by liking content, showcasing hobbies, joining particular groups and supporting specific
causes. This trend of indirectly shaping identity online has also been mirrored in our offline lives. So,
implicit expression as is clear to us involves the subtle indirect and non-verbal cues that individuals
convey. These cues can also include gestures, body language, tone of voice, clothing choice and facial
expressions as well as their digital alternatives. Implicit expression often communicates more than the
words themselves. For instance, a person's smile, postures or the way they dress can provide insights
into their personality, attitude or mood. According to Goffman, life is akin to a theatrical performance and
we take on different roles based on the context and the people around us. The front region is the public
aspect of our lives where we present ourselves to others and carefully manage our behaviour and
appearance to create a specific impression. The back region is the private space where we can relax and
be ourselves without the need to maintain a particular image or adhere to social norms. Our Facebook
profiles have a front region where public messages are posted and a back region also where personal
messages reside. When we have to convey different impressions to various audiences, audience
segregation becomes essential. While privacy settings offer some control, keeping audiences completely
separate on social media platforms is challenging. Digital communication tools have become an integral
part of everyday life to the extent that they are no longer noticeable or distinct from traditional forms of
communication going unnoticed unless they malfunction. Unlike in the past, digital communication is no
longer confined to specific moments, spaces or devices. It has now infiltrated every aspect of our life,
shaping relationships, subjectivities and self-presentation with online identities persistently influenced by
the data and traces we leave on the internet continuously. Online identities formed through traces and
contributions on the internet blur the lines between offline and online identity, representing a shift where
identity is consistently present in the digital realm. The use of selfies highlights how the act of taking and
sharing self-portraits in a digital context has a significant impact on the way people perceive themselves
that is subjectively and how they define their sense of self or selfhood. Selfies are a form of self-
presentation where individuals intentionally choose how they want to be seen by others. They select the
angle, they select the expression and context in which they capture the image reflecting their desired
image or identity to the online audience. The term identity primarily refers to how individuals perceive
themselves encompassing elements like self-perception, subjectivity and selfhood. This perception is
shaped by identifying with particular categories or labels given by language, media and culture including
aspects like gender, race, ethnicity, class etc. The way we understand identity can be categorized into two
major paradigms. The first is essentialism which suggests that identity emerges from within, is innate and
remains relatively stable over time. Essentialist views often assume that our sense of self is influenced by
early childhood experiences and relationships. For example, genetic theories of identity might attribute
certain behaviors to a person's genetic heritage while some perceptions of non-heterosexual identity may
rely on the idea of being born that way. In contrast, constructionist approaches view identity as a product
of cultural and social forces that evolve over time and across history. They emphasize that identity is not
inherent but constructed through discourse and societal norms. Constructionist perspectives acknowledge
that identities change and categories such as racial identities can evolve over time. Michel Foucault's
work challenges the traditional notion of a fixed, rational and self-governing individual subject. Instead, he
suggests that identity is not a substance but a form constituted by discourse or languages that represents
selfhood. This perspective highlights that identity is not a stable or innate characteristic but is continually
produced and maintained by societal discourse. It would also be pertinent to refer to Butler's theory of
performativity in this context. Butler asserts that identity is performative. It is enacted through repetitive
actions and behaviors including how we communicate and represent ourselves online, creating the illusion
of a fixed inner identity. The understanding of identity is thus complex and multifaceted and compassing
essentialist and constructionist perspectives. Identity is not limited to offline experiences but also extends
into the digital world where language, discourse and performance continue to shape and redefine how we
perceive and then represent ourselves. The concept of interpellalation developed by Louis Althusser, Phu
Quynh Butler, explains how individuals are subjectified by language and societal power. In the context of
the selfie, individuals are interpellated into identity positions and categories represented in the image.
Ideology invites subjects to conform to the expectations of their identified category ensuring the
performance of a coherent identity. Interpellation involves both active self-recognition as well as external
recognition. In the digital age of user-generated content and consumer culture, identity work is complex.
Subjects actively participate in interpellation by responding to invitations to engage with media processes
and self-manage their identity within discourses. For instance, a hiking selfie illustrates how selfies
function as tools for actively performing one's identity in the digital era. It extends beyond being a static
image. Instead it serves as an ongoing performance that aligns with cultural norms, seeks
acknowledgement and also actively contributes to the construction of one's identity within their online
community. These cultural norms often encompass qualities like physical fitness, confidence in a passion
for nature and when individuals share such selfies on social media, they continually reaffirm and
strengthen this identity. This process is more complex than a simple linear communication model as
subjects contribute to their own subjectification and manage the coherence of their identity through digital
practices. Identity work can be labour intensive, requiring individuals to perform and articulate their identity
according to societal norms. However, there is also pleasure in this process as individuals find satisfaction
in confirming to recognizable identities. The pleasure of identity work is akin to Roland Barthe's notion of
the pleasure of the text, where subjects engage in identity practices not solely as a response to authority,
but because they derive pleasure from confirming to specific identity categories even within constraints.
The selfie is a form of self-expression, reflects these dynamics with individuals recognizing themselves
within the established categories of identities even as they hide the authority behind the screen. In the
previous example of the selfie, the individual by capturing and sharing it not only portrays herself as
someone with a spirit for adventure, but also actively immerses herself in the dialogue of outdoor
enthusiasts. She engages proactively in shaping and expressing this identity classification. This process
also involves a certain satisfaction and a longing linked to the desire for recognition and a sense of
belonging with the circle of outdoor enthusiasts, enhancing the gratification associated with the formation
and display of her identity through the means of a selfie. To conclude, we can say that the concept of
digital identity has undergone significant transformations. In the digital age, it is shaped by a complex
interplay of factors including technological advancements, social dynamics and communication practices.
So, we have to understand that digital identity is no longer a distinct or separable entity from our offline
self, but has become an integral part of everyday life. The ubiquity of digital communication tools such as
smartphones and social media has blurred the boundaries between offline and online identity leading to a
continuous online presence. In the digital realm, the performative nature of identity is even more
pronounced as individuals continuously participate in the creation and dissemination of their identities
through various online activities. It includes social media interactions, self-presentation as well as content
sharing. In the next module, we shall look further into theories regarding digital identity with particular
focus on identity shift.

Today, we will discuss some more theoretical perspectives on identity, particularly those which emphasize
on identity shifts. The first model which we would discuss is the hyperpersonal model developed by
Joseph Walther in the context of CMC. According to this model, people can present themselves in a
selective and if they want in an idealized manner, which can lead to an enhanced and idealized
perceptions of each other. This model is influenced by the ability of individuals to carefully construct their
image, which they want to project on screen in the digital environment. The hyperpersonal model also
influences the identity shift and therefore, can be significantly impacted by the feedback to the self-
presentation by the other interactants in the digital mode. So, we find that in the CMC, individuals when
they prefer to selectively present themselves also modify the conventional transactional communication
model. In the backdrop of CMC, individuals have the ability to craft a carefully curated online persona
through selective self-presentation. This involves highlighting their positive traits while minimizing or
entirely omitting any negative aspects. It results in an idealized representation of themselves. By
purposefully shaping their digital image, individuals seek to enhance their likability and achieve their
relational objectives. Consequently, others may also develop hyperpersonal perceptions of them,
perceiving them in a more positive light than they might in face to face offline interactions. The
hyperpersonal model predicts that individuals will form enhanced and idealized impressions of others in
CMC owing to four different factors. The first is the sender's selective self-presentation, which refers to
individual capacity to selectively reveal their strengths and positive traits only, while concealing or
downplaying their weaknesses or negative aspects of their personality in online communication.
Recipients of these selectively presented messages may also in turn learn to idealize or praise or even
worship the sender, perceiving them as more attractive, more intelligent or likable than they are in an
offline mode. The absence of visual and auditory cues can lead to a heightened focus on the textual and
visual content. It may potentially amplify the impact of the messages which are being exchanged. As
individuals also receive positive responses and feedback from others based on their selective self-
presentation, it reinforces their inclination to continue presenting themselves in the similar idealized
manner. This feedback loop perpetuates the enhanced perceptions. As an example, we may consider an
individual who carefully curates the online profile by posting only the most flattering photographs, sharing
achievements and presenting oneself in a positive light while avoiding sharing any negative aspects of
their life. Others who view this profile may form idealized perceptions about this individual believing them
to be exceptionally attractive, successful, likable, etc. Even though their offline life may have its share of
challenges and imperfections. This idealization is a result of the sender's selective self-presentation and
the receiver's tendency to create a more positive image of the person. Let us now consider the aspect of
digital metamorphosis. In the context of subjectivity, metamorphosis refers to the process of
subjectification which involves the creation of unique ways of life and identity. Metamorphosis as we
know signifies a process of transformation akin to the biological development of an animal from a larva to
an adult. Digital technologies, especially online social networks enable individuals to develop subjectivities
that are not bound by any stable criteria. The concept of liquid modernity which has been coined by
Zygmunt Bauman characterizes our contemporary society as one in which identities and commitments are
fluid and constantly changing. Such subjectivities are continually shaped by digitization, providing a
multitude of possibilities for self-expression. Fluidity of such identities is easily contrasted with earlier forms
of social organization that had more stable anchors as Bauman has suggested. Digitization promotes a
preference for change over constancy, evanescence over sustainability and encourages individuals to
embrace a world where positions, decisions and responsibilities are subject to constant devaluation in
favor of innovation. The transformative nature of digital technologies about subjectivity in society leads to
a proliferation of identities as well as a shift towards a more fluid and change-oriented world. So, it can be
said that online behavior including profile management and friending activities is a form of identity
performance and self-constitution. Identities engage in performance through profile management and
friending on platforms like Facebook contributing to the performance and transformation of identities
online. These activities can introduce gaps and inconsistencies in one's identity narrative requiring effort
to manage and reconcile. Drawing on the notions of Judith Butler, online subjectivities is performed
through two competing activities. First, modifying one's own profile and second is identifying in a relational
sense with friends and networks. Modifying one's own profile involves choosing identity categories,
providing information and making decisions, all of which are considered acts of identity performance.
Identifying in a relational sense with friends and networks includes adding and accepting friend requests,
managing one's friends list and making changes as necessary. These two dimensions of social
networking, profile management and friending while related to identity performance may sometimes
operate in ways that challenge each other. Identifications are described as multiple and contestatory. The
complexity of social networking activities can both construct and disrupt narratives of selfhood. Butler's
theory of identity performativity has drawn from Foucault and also sometimes from Lacanian
psychoanalysis. It proposes that subjects are constituted through repetitive performances, creating the
illusion of an inner core. Identity thus becomes a normative ideal, not a fixed descriptor of experience.
Butler's view challenges both essentialism and radical constructionism, emphasizing identity as a process
that stabilizes over time, rejecting fixity and foundationalism. It challenges the idea that users approach
these platforms with a pre-existing coherent self. Online identity is a relational concept shaped by the
interaction with others within these digital environments. In addition to challenging essentialism and
radical constructionism, Butler's theory of identity performativity also underscores that identity is not
solely an individual endeavor, but a collective and relational one. Online identities are shaped and
negotiated through interactions with others in digital spaces. Users engage in a continuous process of
identity performance and recognition within these online communities, contributing to identity's dynamic
and evolving nature. Mutual surveillance also plays a crucial role in identity articulation, where users are
always complicit in this surveillance. There are three specific ways in which social networking sites like
Facebook can introduce identity incoherence. First, it is through social networking walls and commentary
spaces that friends can easily identify breaches in identity coherence. Secondly, by allowing disruptions in
the narrative through specific moments in the user's history represented by wall posts and status updates.
Thirdly, due to the fact that the user does not entirely control the narrative of the self on social networking
sites, comments and unwanted photo tagging can challenge the user's performance of a coherent self.
Together, these elements illustrate that online identity is a dynamic and ever-evolving process. It is
shaped not only by self-presentation, but also by active engagement and responses of the digital
community. Users co-participate in this ongoing construction. It can lead to a more fluid, relational and
sometimes challenging manifestation of identity within social networking sites. Let us look at tagging and
disrupting identity narratives. Tagging which links a user's name to a photograph, allowing others to
associate behaviors or moments with that user has been controversial on Facebook. It raises issues of
awareness and authorization. Tagging exemplifies the interactive participatory nature of web 2.0 culture
where users actively engage with content by adding tags and creating connections between users and
images. Privacy concerns have emerged due to the increasing searchability of tagged non-textual items
online. Unexpectedly tagged images or videos may impact how individuals perceive themselves and
tagging can disrupt the coherent narrative of identity performance. The act of tagging individuals in
photographs, especially in the context of past romantic relationships, has the potential to evoke feelings
of jealousy and may significantly complicate the carefully constructed narrative of one's current
relationships. It serves as a stark reminder that the interconnected web of digital platforms can
unexpectedly and profoundly disrupt the ongoing performance of an intelligible self. Identity shift refers to
the process of self-transformation that occurs when individuals make mediated claims about themselves.
The process of identity shift involves specific psychological mechanisms. When composing self-
statements online, individuals engage in more thought and internal cognition about themselves and the
attributes they are communicating. Identity shift goes beyond positive thinking. It involves deliberate self-
presentation and self-transformation consistent with the selectively presented attributes. Identity shift is
an internal transformation taking place irrespective of whether one's self-presentation is made public or
not. An example of identity shift can be observed when an individual consistently presents themselves as
an expert in a particular field on social media platforms. Over time, as they share their knowledge, engage
in discussions and receive positive feedback from others, they may begin to perceive themselves as even
more knowledgeable and confident in that area than they did before they began their online self-
presentation. This identity shift involves a transformation in their self-concept as they come to believe and
behave in accordance with the selectively presented self-online, even if they did not initially see
themselves in that way. Self-presentation in the context of identity shift is grounded in the hyperpersonal
model which suggests that mediated interactions allow individuals to present themselves selectively. This
mindful and deliberate consideration of how one portrays oneself is crucial to an identity shift. This
mediated self-presentation makes individuals both the sender and receiver of their self-portrayal even if
the message is not shared publicly. Merely thinking about and taking the time to compose a statement
that reflects a specific identity trait can lead to a slight adoption and incorporation of that trait into one's
self-concept. Self-presentation on social media includes the content we share, how we present ourselves
in photographs and the language we use in our posts. Some might use hashtags to align their online
persona with their interest. Feedback also plays a significant role in the process of identity shift which can
be both intrapersonal and interpersonal as feedback from others can intensify this transformative effect.
According to the hyperpersonal model, online interactions invite interactivity such as replies, comments or
upvotes which allows others to provide feedback on our self-presentation. Feedback that is favorable to
the stated traits reinforces the identity claim intensifying the identity shift. On the other hand, feedback that
is inconsistent with the presented traits can have a contrasting effect. In instances where others disagree
or offer a contradictory feedback, it may lead to a stronger self-transformation from the feedback rather
than the original statement. Feedback in online interactions can significantly impact the process of identity
shift. It can reinforce the presented identity traits or trigger adjustments as well as transformations in
response to contrasting feedback. This dynamic interplay between self-presentation and feedback
contributes to the complexity of identity performance in digital environments. But there are several
limitations to identity shift. One limitation is that the effects of identity shift tend to be minor making it not a
quick fix solution for self-transformation. A single post may lead to subtle changes in self-perception. At
the same time, repeated public commitments to a specific identity, especially on social media are more
likely to result in noticeable transformations over time. Identity shift also requires individuals to identify
with their self-presentation as their own. Anonymity can hinder identity shift effects as individuals must
engage in intrapersonal communication and strongly connect the presented self to their offline self. The
transformation relies on drawing from actual life, events and experiences that align with the self-
presentations. Social media platforms due to their focus on self-identification are highly favorable
environments for identity shifts to take place. However, in less identifiable communication channels, these
effects might not be apparent unless participants are prompted to link their contributions with their actual
identities. The extent of self-identifiability in a given platform appears critical in determining the likelihood
of identity shifts occurring. Additionally, for an identity shift to occur, individuals must genuinely identify
with their statements. Simply making up attributes about oneself does not in fact lead to an identity shift.
Moreover, self-transformation must be feasible. Repeatedly posting statements disconnected from reality
will perhaps not magically lead us to transformation without actual actions and experiences supporting the
identity claims. Digital realities play a significant role in shaping, expressing and challenging identity in the
modern age. Individuals navigate a complex landscape where they can explore and project different
facets of their identity, interact with others in novel ways and confront new ethical and social
considerations related to digital identity. Digital realities explore how identity shifts, which is a form of
intrapersonal communication occurs online through text-based tools like blogs and status posts. But in
turn, it is also being influenced and also transformed by newer digital technologies. New tools and devices
are emerging that allow for the encoding and transmitting of smell, taste and touch, making online
experiences more immersive and multi-sensory. These devices can revolutionize the way we interact with
and also experience the world, opening up new possibilities for self-expression and self-perception in the
virtual realm. This multimodal help to online interactions aligns with the growing trend of making the digital
realm more closely resemble the physical world. They use VR, AR and MR. The incorporation of sensory
feedback in online interactions could lead to a deeper and more nuanced understanding of one's digital
identity. For example, experiencing a virtual environment that evokes the aroma of a favorable place or
the taste of a cherished dish can profoundly affect self-perception as well as self-expression. So, virtual
realities or VR is a digitally created space that users can access by wearing a specialized headgear that
provides visual and audio input, allowing them to see, hear and even feel the virtual environment. The
advancement of display and motion tracking technologies have made VR experiences more accessible
through gaming consoles and affordable headsets that can be used with smartphones. VR can also be a
powerful tool to help individuals navigate through and address their phobias, practice public speaking,
manipulate time and feedback and engage in positive experiences to overcome their anxieties or fears. It
can also enable individuals to reflect on their self-concept and promote personal growth and behavioral
changes. VR technology continues to evolve, expanding its application in personal development and self-
exploration. In later modules, we shall discuss VR as well as the related concept of Proteus effect in more
details. The Proteus effect is an intrapersonal phenomenon in CMC, particularly relevant in immersive
virtual environments. It is named after the Greek god of ever-changing rivers and streams and refers to
changes in self-behavior and self-perception based on alterations in self-representation. Unlike identity
shift, which relies on textual self-presentation, the Proteus effect occurs when individuals visibly perceive
themselves within the virtual space and experience self-transformation. To experience the Proteus effect,
individuals must see themselves embodied in virtual avatars and feel connected. The Proteus effect is
conceptually distinct from immersion, emphasizing how individuals view themselves through avatars. As
individuals interact with others in the virtual space through a transformed avatar, they may find
themselves adopting behaviors and attitudes that align with the persona they have created. Over time,
they might become, for example, more outspoken and participate better in group activities, all of which
may be quite different from their typical real-world behavior. This change in self-perception and behavior
stems from the influence of the avatar and the Proteus effect showcasing how individuals can experience
self-transformation in virtual environments. In the twelfth week of this course, we will discuss this aspect in
more details. While interpersonal effects like sociability can occur due to the Proteus effect, it remains
primarily an intrapersonal process influencing self-perceptions and behaviors without interacting with
others. This concept is also displayed using this diagram. The Proteus effect showcases the malleability
of human identity and behavior in virtual environments. This phenomenon offers exciting opportunities for
personal growth, self-exploration and even therapeutic applications, making it a significant area of study
in computer mediated communication. Avatars and virtual representations are often used by players in
video games. They are controlled by them to interact with the game world and with other players. Avatars
can be customized allowing players to alter their physical appearance and create a representation that
may or may not reflect their offline self. This customization of the avatar can influence players self-
construct and intrapersonal communication also. Players may use avatar customization to present
themselves differently from their offline identity to avoid societal expectations or embody an idealized self.
Spending time in the game world as their avatars leads players to identify strongly with them. This implies
that video games also have the potential to serve as a platform where identity shifts in the Proteus effect
both involving processes of self-transformation through self-representation can take place. In these virtual
gaming environments, individuals may experience shifts in their self-identity and behavior by embodying
different roles in persona, reflecting the transformative power of interactive digital spaces. Augmented
reality or AR refers to using digital tools to alter and influence our perception of the physical world around
us by overlaying computer generated information. Unlike virtual reality which creates entirely digital
environments, AR enhances our real-world experiences using smart devices like smartphones, tablets or
glasses. It offers numerous applications ranging from entertainment and gaming to educational and
practical uses. AR provides opportunities for self-exploration and intrapersonal communication. By trying
out different styles and appearances through various AR apps, individuals can reflect on their self-
perception and potentially change attitudes and behaviors. For example, trying on makeup virtually can
alter someone's perceptions of their appearance and self-esteem. These AR experiences can be both
performative allowing users to experiment with different self-representations and informational providing
feedback and skill development. Online identity is fundamentally relational, constantly molded by
interactions within digital spaces. It undergoes a significant transformation influenced by the emergence of
novel digital technologies and tools. Through mediated self-presentation, individuals can construct and
showcase specific facets of their identity meticulously. Importantly, feedback from others becomes pivotal
in this transformative journey either amplifying the desired identity claims or offering contrasting
perspectives. Moreover, the virtual realm chiefly represented by virtual reality has brought forth a distinct
dimension to the process of identity transformation. Today, we have introduced several concepts. Some
of these AR, VR, their impact in gaming, Proteus effect as well as the hyperpersonal model developed by
Joseph Walther shall also be taken later particularly in the 12th week for further expansions. We will
contextualize this information then by discussing them through relevant research experiments and
academic studies. In the next module, we shall explore the dynamic and intricate connection between the
human body and digital technologies examining the same concept that links these domains. Thank you.

oday we shall focus on the evolving and complex relationship between the human body and digital
technologies from different critical perspectives. The concept of the sceam bridges the realms of human
body and digital technologies. Contemporary culture also impacts the shaping of identities in a digital
environment. The perception of the internet as a disembodied experience where the mind is active while
the body is left behind is rooted in this idea initially proposed by the French philosopher Rene Descartes
about the mind and body dualism. It was his belief that the immaterial mind and the physical body are two
entirely distinct entities made of contrasting substances requiring isolated attention and even existing in
different realms. However, we find that in many non-western traditions, the concept of the
interconnectedness of the mind and body has long been endorsed not only in the area of philosophy,
spiritual theories, but also in medical therapies. We can cite the example of the famous third century BC
Hindu saint, Sushrut, who is known as the father of medical sciences. A growing body of research today in
the areas of virtual realities, artificial reality and MXR that is medical extended reality has effectively
challenged the Cartesian notions and they have emphasized the interconnectedness of the mind and the
body. Western philosophical explorations of the body technology relationship mainly draw from the works
of Heidegger and Foucault. Heidegger's perspective underscores technology's potential to objectify
bodies often at the expense of acknowledging nature's mortal aspect and constraints. In contrast, Michel
Foucault's work emphasizes the pivotal role of the body in the exercise of power and the formation of
subjectivities. The discussion of philosophical perspectives on body technology relationship, particularly
the insights of Heidegger and Foucault align with the concept of embodied digital identity as we can see
in the following video on metaverse. We see identity and expression as core components of the future
metaverse because we will participate in the metaverse through an embodied digital identity. It is a
combination of identifying information that we are accustomed to today like profile information, your name,
your demographic information and embodied expression through your avatar. This embodied identity is
necessary to achieve the feeling of presence that the metaverse can provide. It will allow us to recognize
and interact with each other and even do things together that we couldn't do in physical space. Just as
the metaverse will open up experiences that might not be possible in the physical world, it will also allow
you to share and express your identity in ways that you might not be able to in real life. Obviously you can
choose to create an avatar that looks just like you. It can completely mirror your physical presence but
you should also be able to choose to alter your identity and alter how you express yourself depending on
the context and the people that you're with and this is something that the metaverse can make much more
easy to do than you might be able to in physical space. No matter how you choose to represent yourself
your identity in the metaverse should also be dynamic. Just as you may want to change how you
represent yourself for different experiences in the real world, you'll probably want to do it to adjust your
embodied identity for virtual space as well. And finally you should be able to bring your identity with you
across the metaverse should you choose to do so. You should be able to bring across different
experiences, different social spaces and show it to different people. This decision should be yours to
make and the people building the metaverse and identity system today should enable you and give you
the tools you need to do so. So clearly one of meta's key focus areas for our effort to build the metaverse
is around representation and expression through avatars. In the future we'll identify ourselves not only
with our name or images of our faces or physical presence but also through these embodied avatars that
we create and that can translate or simulate our physical movement into virtual space. Our avatars are
meant to give us identity, expression and social presence and shared experiences within and eventually
across these experiences. They're necessary to participate in immersive spaces not just something that's
nice to add on like an avatar might be with your social presence today. And that means that avatars
should represent the diversity of the people who will be in the metaverse as a way to embody either their
real or their chosen identity. So as we think about the identity structures that will be needed in a future
metaverse we're approaching identity management and identity expression as distinct but interrelated
components of your metaverse identity. The video emphasizes the vital role of digital identity and
expression in the metaverse s embodiment context. It also underlines how individuals will craft avatars
reflecting their physical presence or adapting them to context and preferences with the focus on the
dynamic nature of embodied digital identity. It also highlights the need for personalized and context
sensitive identity expression that can reveal sensitive information. It also underscores the importance of
managing and expressing identity within one's metaverse presence. The corporal turn in scholarship
investigates how western philosophy and culture traditionally separated the body from lived experience in
thought. It argues that the body is not a mere biological machine or a neutral or natural object separated
from culture language and social discourse. Rather the body is intricately intertwined with culture and
cultural practices. The body is thus actively produced through cultural forces, formations and discourses
which define it and present it as subjective, organize it and create understandings of bounded and
separate bodies. A linear perception of the body is constant and stable is an illusion dependent on
repetitive performativity. The body is not inherently real and material but is produced through cultural and
historical formations including mediated and digitally communicated discourses. All of us are familiar with
the arguments of Judith Butler. She has asserted that the body's materiality and the performativity of
subjecthood are intertwined through the influence of regulatory ideals, a concept which is derived from
Michel Foucault. In our opinion, identity performativity is not a singular or a voluntary act but a repetitive
practice in which identity is constructed through discourse. Materialization of the body thus is a process not
merely a construction and it extends beyond the idea that social forces shape the body and then wield
that identity. Materialization involves the body's continual process of becoming intelligible, unified and
coherent through discourse and language. This perspective also prompts questions about how the body
gains intelligibility in connection with objects, tools, communication methods and extensions across space
and time. This brings us to the discussion of Turkle's views on a Second Self. It is an extension of the
ideas we had discussed in the previous module about identity shifts in digital communication. Sherry
Turkle had called the computers a second self in her 1984 work. However, the earlier relationship of a
single person sitting against a machine alone has changed now. We are learning to live in virtual worlds
and create an identity that fits both worlds, the virtual and the material and it changes the way we think
and form our communities. Life on the screen dramatizes and concretizes a range of cultural trends
forcing us to think of identity in flexible and multiple ways projecting constructed persona into virtual
space. Utopia discourses in online communication allow us to escape the physical constraints of the body
including those marked by race, age, gender, etcetera. Turkle feels that technology does not just do
things for us, it does things to us changing not just what we do but also fundamentally who we are. We
literally write our online persona. Cyberspace opens the possibilities to play with identities but we should
be aware of what we are behind the persona projected on the screen. So, we see that focus now is on
self-presentation on a screen through versatile media in a fluid manner. It acknowledges that individuals in
text-based chat rooms can adopt identities that differ from their physical selves. Moreover, this concept
extends to the idea of individuals potentially losing their physical bodies altogether and existing as
imaginative uploads within an electronic network. In the 90s and early 2000s, cyberfictional accounts
explored the idea of subjectivity as post-corporeal, holding the potential to overcome bodily distinctions
such as those based on race and gender. However, the idea that one can be a subject without a body is
rather limited in its absurdity. Cyberspace may lack a physical presence but it is still our natural bodies
that interact with digital technology. Early utopian ideas of bodyless selves seem impractical in today's
digital world but they still offer value. Donna Haraway's concept of the cyborg combining human biology
and machine technology challenges body subordinating dualisms and cultural reductions. Although the
cyborg figure is not consistently radical and can uphold traditional power structures, it serves as a tool for
critiquing culturally constructed body concepts. Thus, it contributes to the ongoing examination of how we
perceive and interpret the body in everyday life. It is a lasting legacy from earlier discussions of bodies
and digital communication in the cyberspace context. In the early days of Web 1.0, it was believed that
online communication allowed for diverse and new identities. Then it lacked physical attributes and
focused on written text more. However, as technology has advanced, the representation of the body has
also become substantial on the modern internet with a heavy emphasis on visual self-presentation such
as selfies and profile photos. Diversity in online representation remains problematic as it tends to be
dominated by a narrow set of representations often favoring socially dominant groups and thus
challenging the assumption of equal participation. The self-management of conformity and uniqueness co-
exist in online environments, shaping the production and materialization of bodies and affecting self-
esteem and resilience differentially. This is because a narrow set of representations often dominates
online spaces. The socially dominant groups tend to lead in innovation while marginalized groups lag
behind. So, stereotypes oversimplify identity categories and are more prevalent in today's information with
society as they are quick and easily digestible in nature and they can be circulated through images of
bodies shaping how identities are perceived and represented in a readily fashioned and packed manner.
The habitual choices of clothing, ornamentation, prosthetic devices and makeup as noted by Grosz in his
1994 work are as much part of the performativity of subjectivity as actions and behaviors tied to identity
stereotypes. These elements aligned with cultural stereotypes contribute to the performative aspects of
one's identity and are closely linked to contemporary notions of subjective stability. Stereotypes are not
necessarily false or mere theatrical performances adopted by individuals, rather they showcase how
people perceive and present themselves through their bodies, behaviors, emotions and social roles.
These perceptions contribute to the formation and reinforcement of stereotypes in digital communication
also. These stereotypes are implicated in the discursive and regimented materialization of the body and
its associated capacities, skills and inclinations as suggested by Butler and Lingis. The transition from
text-based digital representation to contemporary audio-visual media underscores the relationship
between identity and stereotypical attributes. Stereotypes link the visual representation of bodies to their
actions encompassing movements, spatial dynamics and gestures. This goes beyond bodies already
shaped by social constructs, the very movements of the body establish it as a distinct identity. Assigning
identities to bodies through stereotypes has the power to evoke both pain and gratification in individuals.
The link between the imaged body and its movement, encompassing capacities, skills and inclinations can
be experienced positively or negatively by a subject. The connection between the body's image and its
movement extends to the influence of discourse, which according to Foucault exerts control over the body
by regulating specific movements, gestures and attitudes. This process produces docile bodies that are
not passive but submissive and obedient. Illustrating the complex interplay between discourse and the
body in shaping subjectivity. Stereotypes about corporeality are sometimes unconsciously adopted by
individuals to make the performativity of identity categories intelligible and recognizable. However, in the
world of digital communication, diversity is indeed present and various bodies are represented online
covering different races, sexes, abilities, classes, nationalities, religions and sexual orientations. Still,
claims of diversity should be approached with caution. Highlighting instances of online discrimination is
crucial to dispel the misconception that digital communication is free from various forms of discrimination
based on different body attributes. The concept of immersion in digital gaming often suggests that a
gamer's identity extends into the virtual world beyond the screen either by leaving the body behind or
merging the corporeal self with the gaming avatar. In some cases, immersion leads to the player
projecting themselves into the on-screen character resulting in a fusion of consciousness. This account of
gameplay highlights the performative nature of identity influenced by on-screen interactions but it still
maintains the problematic real versus virtual distinctions. An alternative perspective is also there which
challenges these distinctions and views them as meaningless emphasizing the unity of the digital and
physical aspects of identity thus avoiding the mind and body dualism. In digital gaming, there are genuine
separations between the real physical world and virtual activities particularly evident in gamers actions.
While players do not completely disconnect from their physical bodies, there is a clear distinction in intent.
For instance, everyday mundane tasks that most people would avoid or find physically demanding
become exciting and interesting challenges in the gaming world. The gamer may engage in repetitive and
boring actions such as carrying crates or searching for items which would be uninteresting in real life but
become enjoyable within the context of the game. This does not imply a scenario where the physical body
performs one identity while a separate online persona assumes another akin to a split personality
framework. Instead it underscores that adopting game characters serves as avatars and their
corresponding actions can involve conscious choices and instinctive self-expression for moments of
pleasure. Individuals can also form deep emotional connections to the avatars they control in video games
whose actions and movements are actively linked to the player's body and are experienced as corporeal
sensations. We can draw on the ideas of Pierre Bordieu that the body believes in what it enacts during
gameplay and the emotions and sensations felt in the game can be as real to the player as real world
experiences. Johan Huizinga's concept of play as a separate space with its own boundaries in contrast to
everyday life is also relevant. It suggests that in the era of digital games, the body is not isolated but
consciously understands the narrative differences and emotional impact. Gamers are fully aware of the
separation between the game and the reality. Unlike hypnosis or immersion, individuals engage with
games consciously and the game narrative does not completely absorb or alter their thinking. The design
of digital technologies is consciously tailored to match the human body's sensory capabilities including
vision, hearing, limbs and even occasionally feet. This design aims to establish a seamless and intentional
connection between these devices and the human body. Importantly, this approach is not about making
technology appear foreign or unfamiliar. Rather, it is about forging a harmonious relationship between the
human body and the digital device. Catherine Happer describes Google Glass as a device that mediates
between the user and reality, raising concerns about the potential cyberization of the body that becomes
dependent on technology. Unlike conventional devices like smartphones, Google Glass introduces a
screen that intervenes between the eye and the surrounding space acting as a window rather than a
traditional screen. This creates a sense of biomediation where technology influences how we perceive
and interact with the world. This unique way of mediating vision and seeing has transformative effects on
how we articulate ourselves and engage with our surroundings. It also highlights the altered connection
between the eyesight and the objects in our environment due to the immediacy of the mediation. The
integration of digital technology and the human body into an assemblage can also lead to exclusion of the
individual psyche. So, devices cease to be perceived as mere tools that extend the body, but they
become an integral part of the body's material assemblage. Essentially, they are intimately integrated with
the body without necessarily merging or penetrating it. The close bond between mobile phones and the
human body emphasizes an intimate connection to a point where mobile phones are inseparable from the
body impacting our sense of the self. One experiences a sensation of a phantom limb where the
reluctance to part with a mobile phone is physically felt. It is not just the mobile phone itself that becomes
a part of one's corporeal subjectivity, but also it uses the associated practices and the connectivity with
others. The absence of malfunction of the phone leads to a sense of disconnection and fragmentation of
the body, similar to the anxiety of being lost in an unfamiliar place. The inability to connect with others
through this technology creates a feeling of insecurity and further separation from one's own materiality.
The concept of a seam serves as the point of interaction between the corporeal subject and digital
information where digital data is understood as being located within a conceptualized space. This idea
emerges because interactivity with text, images, games and ideas requires viewing them as objects
subject to manipulation. It highlights that individuals are positioned alongside this space at the seam using
tools to manipulate objects within it, much like how one uses tools to interact with physical objects without
fully immersing themselves in the environment. This perspective makes the seam a crucial site for
contemporary engagement with communication, culture and selfhood, emphasizing its significance. So,
this seam represents the point at which the body engages with the screen and emphasizes the increasing
closeness between the body and technology. This closeness is not about crossing into a fictional space,
but is characterized by a desire to come close to the screen and imagine a merger with technology, such
as becoming a cyborg. While some still perceive a duality of space, this perspective is less common in the
context of everyday digital technology use. The concept of immersion aligning with developments in video
games implies that the importance of the physical body diminishes as one becomes deeply engaged in
the imaginative world of digital experiences. A more productive understanding of the relationship between
the corporeal subject and digital activities is considering online activity as a separate space, where the
concept of a seam is present where the body interacts with communication technologies. As an illustration
of corporeality within the concept of a seam the interaction of the body with communication technologies
as seen in the corporeality context through gaze and eye movement presents a distinctive mode of
communication. It serves to connect humans and non-human entities in the digital domain. In the following
video, the concept of corporeality illustrated by using an eye tracking device for non-verbal communication
with bacteria and microbial communities reflects a shift in how we perceive the relationship between the
corporeal body and digital experiences. We want to actually create a proto-architectural space and
installation where humans can experience living organisms which live in a completely different scale and
where humans can actually also, visitors can interact with these very different organisms. The idea is to
have an interface, a sort of helmet, and with our eye movements, these eye movements are translated
through these technologies and through the interface into cues that can be perceived and sensed by this
living material. The seam is rapidly changing as proposed by Eric Schmidt, executive chairman of Google.
The internet is becoming ubiquitous blurring the line between the real space and the virtual space. The
text uses metaphors like immersion in water or reading print to illustrate that our immersion in digital
connectivity is so seamless that we might not consciously perceive the boundary between our physical
and digital lives requiring critical thought to distinguish the two. So, various bodily practices related to
digital communication technologies are evolving. As these technologies become more and more prevalent
and research gets intensified, new habits and practices emerge as devices proliferate often reflecting
cultural desire for physical interaction with digital spaces. For instance, people have normative codes
regarding how they touch desktop computer screens leading to specific ways of engagement and and
even etiquette. Actions like frappe where someone humorously alters another person's Facebook settings
or profile when their laptop is momentarily left open or unlocked can be seen as comical within a specific
group setting. These evolving practices and habits form a distinct sign system language shaping
individuals relationship with technology and embodying social habitus in line with the theories of Norbert
Elias. Asserting that the language of bodily interaction exists with digital technologies does not imply a
uniform and dominant set of rules. Instead, it encompasses a spectrum of norms that primarily govern
relationships between individuals and their devices akin to the etiquettes of physical contact. In the
context of shared technology seeking permission as in asking may I to use another person's desktop
keyboard or mouse exemplifies the evolving cultural norms associated with tactile interaction. Digital
technologies are increasingly employed to enhance individuals pursuit of a culturally desirable better body
marked by attributes like leanness, muscularity and tone etc. while intertwining with broader cultural shifts
involving dietary practices and stigmatization of body fat. This perspective is distinct from the alternative
concepts of the cyborg or the seam focusing on the normative body and the ways in which individuals
participate in self-disciplinary practices. It also connects to the pursuit of pleasure and consumption
asserting that contemporary bodies are instrumentalized for enhanced performance, labor capabilities,
longevity and increased pleasure through consumption in sex. This reflects the cultural changes in how
society views the body. Body is now treated as a docile entity that can be molded to fit specific ideals. The
ideal body is pliable and subordinate to individual will. This transformation towards a docile body is driven
by self-regulation and self-management rather than external regulation or constraint. Such self-regulation
resulted from cultural shifts and has been intensified by digital means of communication. The human
body has shifted from institutional surveillance to a self-directed project with digital communication tools
facilitating individual's access to information and tools for self-discipline and a better body management.
This perspective is not just about shaping the body as a passive object, still it entails active body
materialization driven by the desire for pleasure often framed as a contemporary subjective right. It
involves self-discipline and training to make the body available for greater pleasure addressing the
vulnerabilities inherent in all bodies. This compulsion is also linked to averting risk and creating normative
docile and compliant bodies in response to corporeal vulnerability and precarity. The compulsion to
protect our corporeal selves and identities against precarity and vulnerability is not enforced. It is driven
by a cultural desire for safety and protection using digital tools. This drive is not fear-based, it derives
gratification creating a libidinal flow in the pursuit of a calculable gratification associated with a projected
normativity. Such gratification is further embedded within market exchange discourse where working on
the body as a project is seen as a productive endeavor promising rewards like longevity, enhanced
sexuality, health and other culturally constructed benefits. Consequently, the adoption of digital
technology is endorsed as a necessary response to the question of how to embody a human body in
contemporary society. The discussion in this module has looked into the intricate relationship between the
human body and digital technologies. Their deep integration goes beyond the notions of a cyborg or a
disembodied subject. The concept of the seam between physical and digital spaces has been crucial in
understanding this relationship as it evolves and becomes increasingly seamless in the era of ubiquitous
digital connectivity. This new reality challenges our traditional understanding of the body as it constantly
attempts and interacts with technology. We have seen how digital technologies are used in contemporary
culture to shape and better the body creating a normative ideal of the fit and aesthetically pleasing body
while intertwining it with pleasure in consumption.

We had also looked at how the contemporary culture influences the formation of digital identities. Today,
we shall examine several key concepts related to identity, deconstruction, and their significance in
various contexts including the workplace and personal branding. These concepts are interconnected as
they revolve around self-examination and self-presentation. Individuals create and project different
identities in the workplaces not only as professionals, but also as individuals who draw on the broader
social identities. These identities are interlinked with the identities of others. They are influenced by the
context in which interactions occur including the norms and expectations of the working environment and
the broader socio-cultural context. A professional digital identity refers to an individual's online presence
and reputation in a professional context. Individuals should focus on cultivating and controlling their digital
career identity, highlighting their skills, values, interests, and professional connections in an online
environment as it greatly enhances their employability. Before looking at the specifics, it is essential to
explore the broader applications of digital identities within our work environments and their implications for
organizations. The following video which we are going to share shall provide insights into the significance
of being mindful of our digital identities and the development of strategies to safeguard and ensure their
accessibility in the digital workplace. Recognizing the multifaceted role digital identities play can elucidate
the importance of fostering a positive and secure online presence within a professional setting. Digital
Transformation has fundamentally reshaped IT security and significantly complicated life for information
security leaders. Cloud services, mobile devices, hybrid workforces and the Internet of Things pose a
variety of workflow, security and compliance challenges for today s life and mission critical organisations.
Ransomware attacks, phishing scams and data breeches can disrupt IT systems, tarnish reputations lead
to costly regulatory fines and revenue loss. In healthcare, they can detract from patient care and result in
poor patient outcomes. Cyber insurance providers are responding by scrutinizing security controls with a
fine-tooth comb, raising premiums, capping payouts, or simply denying coverage to high-risk
policyholders. To improve security posture, forward-thinking CISOs are moving to newer security models
to protect today's hybrid IT environments and workforces. They are shifting their focus to digital identity. A
digital identity is an electronic representation of a person or non-human user and serves as the link
between people, devices, and data. As the world has increasingly moved online, digital identities have
become commonplace. If you use facial recognition to unlock your phone or fingerprint recognition to
open a banking app, you make use of a digital identity. Many organizations use digital identities to
authenticate and authorize user access and control and audit their actions. For this reason, a well-
architected digital identity strategy is one of the most business-critical solutions today. Among the many
benefits, a comprehensive plan can minimize the risk of cyber attacks while improving user workflows,
provide evidence of compliance to auditors, and demonstrate cyber readiness controls to insurance
underwriters. But formulating a digital identity strategy and devising a rollout plan can be a daunting
proposition. While there are several architectural frameworks that can help, they have all generally been
conceived with similar distinct categories, such as governance and administration, identity management,
authorization, and authentication and access. These categories serve as the core pillars of a robust
security and user-efficiency focused digital identity strategy. By starting with a phased risk-aligned plan
that addresses your most pressing security needs as quickly as possible, you can achieve a stronger
security posture, introducing additional capabilities over time. Transitioning to a new strategy requires
careful thought and thorough planning, and balancing security and user experience can be tricky.
Improvada can help you formulate and implement a cohesive digital identity plan that reduces security
risks, eases compliance burdens, improves workflow efficiencies for both end-users and IT professionals,
and helps you face ever-changing threats head-on. The concept of a resilient digital workplace is
becoming increasingly synonymous with a borderless organization. It is now willing to embrace the
permanence of hybrid mode of work. Post-pandemic organizations are now focused on re-establishing
personal connections while also attempting to accommodate employee preferences for flexibility. The shift
to hybrid work model introduces new technology and security challenges, necessitating a zero-trust-based
approach to security. Identity, which is a core pillar in this strategy, emerges as the foundation for a
resilient digital workplace and also ensures that the right individuals can access the right resources while
keeping the organization secure. To achieve this, organizations are implementing identity-centric security
architectures, contextual access control, centralized identity governance, single sign-on, and multi-factor
authentication solutions. Identity in the workplace has transformed into an essential element of resilience
and adaptability. As organizations recognize the pivotal role of identity in shaping the post-pandemic
workplace, they are more likely to prioritize investment in advanced identity management solutions. By
doing so, they set the stage for a resilient and attractive digital workplace, strengthening their image as a
trustworthy, forward-thinking, and digitally appealing entity in the professional landscape. In the digital
context, the digital curb appeal pertains to how appealing or attractive an individual's online presence or
profile is to others, especially in a professional or social context. The idea of the digital curb appeal is a
concept which has been borrowed from the real estate industry, where curb appeal refers to the
attractiveness of a property when viewed from the street. Having strong digital curb appeal means that
your online presence, such as your social media profiles, personal websites, or professional platforms like
LinkedIn, etc., remain well maintained, up-to-date, visually pleasing, and provide relevant and interesting
information to visitors. Conversely, a lack of digital curb appeal would result from an outdated, and
abundant online presence, visually unappealing design, or an absence of relevant content. Digital curb
appeal emphasizes the importance of making a positive and memorable first impression, maintaining
consistency and professionalism, providing accurate and high-quality content, and organizing your digital
identity effectively. The care and maintenance you put into your online presence reflects your
professionalism. As a maintained property suggests a responsible homeowner, your online content and
interactions could be conducted professionally. Let us look at some more components of digital identity.
The components of digital identity listed on this slide are professionalism, accuracy, and consistency.
Professionalism suggests that your online interactions, including the comments and different social media
posts, blogs, etc., should reflect a professional approach. So, one has to strike a balance between the
personal and professional lives. For example, we have to be watchful about the words we use, the type of
humor we employ, and also what aspects of our personal or professional life we want to disclose in which
manner. By accuracy, we suggest that our online presence and our profiles should be accurate and
continuously updated. Maintaining an already posted online available CV or resume must be continuously
checked to ensure accuracy and relevance and inaccurate information or obsolete information should be
weeded out to maintain a professional image. Consistency incorporates different perspectives. Firstly, our
online and offline identities should match. That means that the professional identity you want to present
online should definitely have some alignment with your real life persona and values. It is crucial for
building a positive professional reputation. A consistent digital identity would extend to your profile
pictures for example. The profile picture should be the same or visually similar across multiple online
platforms. Your bio statement should also convey a consistent core message regardless of varying
lengths on different platforms. Your self-presentation and the professional content you share should also
maintain a consistent and coherent identity throughout various online spaces. This uniformity helps in
building a strong and easily recognizable digital persona. The online information should also be presented
in an organized manner. Different digital platforms may require different types of structure. So, we have
to adapt our online presence to represent a professional identity in the best possible manner and we have
to ensure that our information is categorized and appropriately ordered to facilitate user navigation. The
quality of our online material is also significant. A low quality content can negatively impact your
reputation and deter opportunities. We have to ensure that the online presence is professional, accurate,
consistent and organized to create a positive first impression. By representativeness, we want to suggest
the idea that one's digital identity should offer a complete as well as a coherent picture of our professional
self. This means including all significant components of your professional experience, skills and strength
and it is about aligning your online presence with your actual professional identity. Maintaining a strong
digital identity involves presenting yourself consistently and professionally ensuring that your online
profiles are accurate, well organized and offering high quality content. It should also fully represent your
professional self. This strong digital identity is essential for building a positive online reputation and can
also attract opportunities in your field. The next slide aims to provide insights into various platforms and
features. It might be helpful for academic and higher education professionals to make informed choices
about their online presence. In the table given on the left hand side of the slide, you would find that the
major platforms are given for certain relevant themes. So, we have to watch how other people are
maintaining it and in this area we should also explore the features and do certain additional research to
make our presence worthwhile. We should also dive in only when we are ready. Inaccurate, imperfect and
imprecise information should not be hurried on an online posting. The internet capitalizes on fear of
missing out by constantly engaging people with their digital presence. One does not need to be present
on every online platform as attempting to do so can be overwhelming. The fear of missing out popularly
known as FOMO often drives people to try to keep up with numerous social media sites which can lead to
a hectic online existence and can be difficult to cope with in the longer run. Digital literacy and online
identity are also very closely connected. Digitally literate individuals can shape their online identity to
match personal or professional objectives by consistently sharing pertinent content and articulating their
expertise effectively. Digital literacy encompasses critical thinking skills which enable individuals to
assess information sources, reducing the likelihood of spreading misinformation or falling for online scams
and promoting an online identity characterized by a commitment to accuracy and truthfulness in their
online interactions. Digital literacy is dynamic and emphasizes on continuous capacity building. It requires
the capacity to adapt to emerging technologies and platforms. Digitally literate individuals are more
inclined to embrace new digital tools. They adjust their online identity to evolving trends and are ready to
explore and experiment with emerging online technologies. A person's online identity can reflect their
digital literacy regarding their ability to navigate, engage and protect themselves in the digital world.
Individuals with higher digital literacy levels are better equipped to manage their online presence
effectively, make informed choices and present a more polished and a better secure online identity. At this
point, we would take up the idea of cyber vetting. LinkedIn is a primary platform HR professionals use to
supplement candidate information. Also, occasionally checking Facebook and Twitter to verify the details
of the CV and also to form a comprehensive candidate profile. Negative information found online such as
a candidate's inappropriate behavior can strongly influence HR professionals assessments and even lead
to the rejection of a candidate. Photos on SNS profiles play a significant role in evaluating job candidates.
HR professionals consider the appropriateness of the images, especially when they conflict with the
professional image a candidate is trying to project. HR professionals also assess language proficiency
and writing style, the presence or the absence of biases etcetera in candidates online profiles, especially
for positions where communication skills are essential. HR executives are now incorporating the
examination of candidates online profiles into the recruitment process. They recognize that resume only
offers an official version of an individual and they often turn to the social media to gain insights into the
candidates personality, behavior, interest, etcetera outside of work. Online screening is often a step taken
after initial interviews mainly and particularly when HR professionals have doubts or need more
information to decide. Normally, it is felt that HR professionals appreciate candidates with an effective
online presence signaling adaptability to technology and current trends, but they also respect those who
choose not to be on social networking sites. The public sector in particular places a strong emphasis on
the integrity of candidates due to the nature of its operations and as a result, HR professionals within
these organizations occasionally take into account the political views and affiliations of applicants. This
consideration is rooted in the understanding that an individual's political engagement and opinions can
significantly impact their role and responsibility. Thus, the candidate selection process is influenced by
this critical dimension. There are diverse software that help organizations in screening their potential
candidates for them. Let us look at one such example of software. Did you know that one in five
candidates online activity and social media will show red flags that indicate them as a bad hire? Further
still, one in ten people assessed by their digital footprint may be considered high risk. When making
important hiring decisions, we always measure our candidate's performance and ability to do the job, but
hiring the right person is also about trust. We all want to build a workforce we can trust made up of people
who positively contribute to our organization's culture, reputation and success. Digital footprint checks can
help you achieve this. The types of red flags discovered by digital footprint checks are often missed by
traditional background checks. While your candidate may appear to be the perfect fit on paper, throughout
your interview process and even after traditional background checks, their online life and digital footprint
may indicate otherwise. Red flags, or as we call them cultural fit indicators, include discriminatory
behaviors such as racism, sexism, homophobia and hate speech, criminal history and conduct such as
fraud, acts of violence and cyber crime, and unprofessional behaviors such as online bullying, strong
language, explicit content, substance use and bad mouthing employers or co-workers. By uncovering
cultural fit indicators in the hiring process, digital footprint checks will empower your organization with the
confidence of hiring a workforce you can trust. You can become more proactive by easily and thoroughly
assessing each candidate's alignment with your values, brand image, culture and reputation while also
gaining in-depth insights into your candidates attitudes, interests, skills and qualifications, demonstrating
your commitment to diversity, equity and inclusion, minimizing the risk of bad hires and reducing
employee turnover. So can you or should you do digital footprint checks yourself? Well 75% of employers
are already manually checking their candidates social media accounts, but missed insights and resourcing
aside, DIY information gathering brings its own risks of potential bias and discrimination against
candidates. At Check Social, our checks are compliant. We use leading AI technology combined with
expert analyst insights to assess public data and exclude protected attributes such as race, religion,
sexuality, marital status or gender to avoid discrimination. Empower your organization with the confidence
of hiring a workforce you can trust with Check Social's digital footprint checks. The evolution of the
internet and digital culture has blurred the lines between the private and public domains creating a unique
challenge. This phenomenon leaves individuals vulnerable to unwelcome scrutiny as the distinction
between personal and professional lives becomes increasingly complex in our interconnected world. This
new digital paradigm demands a nuanced and careful approach in evaluating candidates and employees.
This issue continues evolving as technology and society progress. John G Palfrey, a law professor at
Harvard Law School provides an insightful comment on the Harvard Business Review case We Googled
You. The case highlights the dilemma of a CEO considering hiring a candidate with a promising
background, but a potentially problematic online history. He points out that problems arise from the
generation gap between today's digital native youth who have extensive digital experience and senior
executives who are primarily digital immigrants with limited digital history. The internet has created norms
that make distinguishing between the private and the public challenging leaving individuals vulnerable to
unwelcome scrutiny. Andy Beal, an online reputation management expert, views Google as a reputation
engine as it shapes the perception of potential customers, employers and the media about businesses as
well as individuals. Pelcrey suggests that as digital natives advance in their careers and later on become
CEOs and HR executives with seniority, the understanding and handling of digital issue in the corporate
world will improve. These aspects shall be discussed further in connection to the perils of online
communication in one of the later modules. It would be pertinent to refer to a 2008 research by Matthew
Fraser and Soumitra Dutta. The work is titled Throwing Sheep in the Boardroom, How Online Social
Networking Will Transform Your Life, Work and World. This work discusses the potential severe
reputational damage caused by online indiscretions. The authors highlight two main ways reputation can
be harmed online, that is self-exhibition and shaming. Shaming occurs when someone deliberately tries to
tarnish a person's reputation by exposing private aspects of their life that they would prefer to keep
hidden. Self-exhibition is when individuals attempt to leave a mark online, unaware of the possible
adverse outcomes their bragging could lead to. The article Facebook Entry Gets Office Worker Fired" on
CNET News recently tells a story of a young woman named Kimberly Swann in the United Kingdom who
lost her job after posting on her Facebook wall that she found her job boring. Her employer cited her
negative comments on Facebook as the reason for terminating her employment and stated that it
indicated her unhappiness and lack of enjoyment in her work. Let us look at the role of epistemics in
identity construction. Epistemic competence involving critical thinking and information evaluation equips
individuals to discern the reliability of online content enhancing their ability to share and engage with
accurate information in the digital realm. Epistemic competence can contribute to an individual's role as a
thought leader or expert in a particular subject. Those who consistently demonstrate their expertise by
sharing valuable insights, conducting in-depth research and participating in meaningful discussions online
develop a digital identity as a trusted authority in their field. It affects how they engage with online
information, their capacity to share accurate and valuable knowledge and their overall reputation in digital
spaces. Digitally competent professionals maintain comprehensive and professional online profiles. These
profiles whether on LinkedIn, personal websites or professional networking platforms showcase their
skills, qualifications, certifications and work experiences. They ensure that these profiles align with their
actual competence and expertise. We will discuss a very interesting and informative article by Susan
Eisner which was published in 2005. It is titled as Managing Generation Y. It comments that the workforce
currently comprises four different generations, traditionalist, baby boomers, Generation X and Generation
Y. Each generation has distinctive characteristics and views on social networking. Understanding
intergenerational differences is crucial as each generation has unique management styles and
technological skills. Generation Y is highly adept in technology but it might also lack specific soft skills
which are observed frequently among the previous generations. This multifaceted generational
composition within the workforce necessitates a management approach that acknowledges and adapts to
these differences. The aim of discussing the impact of online indiscretions and intergenerational
differences in online technology usage is not to be taken as discouragement from creating an online
identity. Rather, the intention is to suggest how to create, craft and effectively manage the online identity.
Identity struggles in the context of the digital workplace can be complex and may arise from the
intersection of personal and professional online identities. Balancing authenticity with professionalism
online can be challenging as individuals may need to conform to a work appropriate image, potentially
suppressing their personal interest and authentic selves. In the digital workplace, employees may wrestle
with concerns of discrimination or bias linked to aspects to their digital identities like gender, ethnicity,
disability, race, etc. The pressure to constantly engage with digital tools and online networks can lead to
digital burnout also impacting one's overall well-being and identity. In the contemporary workplace, there
is a growing need to assess and deconstruct our identities for several important reasons. This process
allows for a clearer and more objective understanding of ourselves contributing to personal growth and
development. It also enables us to navigate the narratives surrounding diversity and operation, fostering a
deeper awareness of how these factors influence our professional lives. Ultimately, identity evaluation and
deconstruction have become essential tools for success in today's diverse and dynamic work
environments. Strategies for deconstructing and also for reconstructing identity within groups can be
categorized into three primary theoretical frameworks. The first is equality perspective leading to inclusion.
The second is difference perspective that aims at reversal and the third is diversity perspective that
emphasizes displacement. In the first perspective, it is suggested that identities should be deconstructed
to allow everyone to be treated equally regardless of their gender, race or any other characteristic.
Difference perspective that aims at reversal suggests that instead of assimilating everyone into a uniform
identity, we should reverse the norm by highlighting and valuing unique qualities, especially those which
have been traditionally marginalized. Diversity perspective that emphasizes displacement suggests
challenging and deconstructing the existing notions of identity towards a more fluid and diverse
understanding of identity. Deconstruction and personal branding are connected through self-reflection and
reconstruction. It can be a valuable step in the development of a personal brand. By breaking down one's
identity and reevaluating it, individuals can better understand their strengths, values and unique qualities.
This self-awareness can then be channeled into deliberately constructing a personal brand that
authentically represents who they are and what they want to be known for. Building a personal brand is
also a very significant idea in this context. A personal brand is the qualities people generally associate
with you. Your online brand should align with your offline personal brand as they are interconnected.
Building a solid personal brand on social media takes time and consistency in maintaining your brand
image across all professional interactions. Being thoughtful and strategic about what we post online is
essential to maintain a positive personal brand. Transparency is a crucial aspect of personal brand
management. Personal branding does not involve pretending to be someone we are not, as hypocrisy
cannot be sustained in the transparent online world. Instead, it requires a genuine self-assessment of our
online profiles to ensure they accurately represent our skills and professional values. Let us now look at
some crucial steps towards rebranding. We must regularly Google ourselves to identify and remove
content which is objectionable. We should also try to set up Google Alerts for our name to monitor online
mentions. We should manage the number of social media accounts to maintain consistency. The friends
list should also be regularly reviewed and we must insist on keeping relevant contacts. We should also
recognize the value of weak ties or latent ties on social media for professional networking. The concept of
latent ties has already been discussed in one of the previous modules. We should also try to purchase our
domain name to control the online presence. We should maintain positive and relevant content on the
profiles and we should also be consistent across different platforms. We should not reveal unnecessary
personal information and we should be cautious of balancing openness with privacy. We should also try to
continually increase our online visibility through blogging and active participation in professional groups,
through postings, etc. The social media posts should also be timed carefully, especially if you are
employed. We should focus on reciprocity and providing value when networking online, particularly in our
professional networks. We should control our privacy settings on social media platforms to protect and
safeguard our personal information. The office environment, both globally and in India, is rapidly evolving
with the increasing use of mobile devices and tablets, etc. to access the internet. The lines between
professional and personal lives are blurring and it is now a matter of personal choice rather than company
norms on how much we let the two aspects mingle. Building and maintaining a personal brand, whether
online or offline is laborious, but taking the first step in that direction is crucial. By implementing the
strategies we have discussed in this module, individuals can take control of their online identity.
Statements about ourselves online, which can lead to changes in our attitudes and behaviors are known
as identity shift. When we post content about ourselves on personal websites, blogs or social media, we
become both the sender and receiver of these messages. Unlike fleeting thoughts or spoken statements
about ourselves, these online posts are more permanent and can be revisited continually, allowing for
reflection and potential self-transformation. We can say in conclusion that the concepts of identity and
deconstruction are dynamic and multifaceted. They empower individuals to develop a deeper self-
awareness, foster a more authentic personal brand and navigate the complexities of our ever evolving
digital world. Managing one's online reputation, dealing with privacy concerns and navigating issues like
online harassment are integral aspects of our digital identities, particularly in the modern world where we
are increasingly interconnected through digital platforms. By understanding and applying these concepts
thoughtfully, we can better shape our personal and professional lives while staying true to ourselves. In
the next module, we shall discuss how various strategies of technical communication align with the digital
spaces.
WEEK 3

Having discussed the nuances of computer mediated communication, today we shall look at the concept
of technical communication in detail. We will also try to differentiate and thereby outline various facets,
types and uses of technical communication in the context of online modes. Over the last decade, the term
technical communication has undergone several revaluations and redefinitions owing to technological
developments in media. Let us first look at the broader scope of the term. The term technical
communication refers to the process of exchanging technical or specialized information amongst
individuals or groups of people to help them interact with technology or solve complex problems related to
it. It is a broad field that involves the creation and dissemination of information related to technology and
its uses. Technical communication involves two aspects of writing. One that communicates work or is
associated with the workplace and secondly, the aspect that focuses on technology or the technical
subject matter that is the core technical content. Technical communication shares with various types of
audience the knowledge of or actions related to tools, systems and procedures. It should also be
differentiated from other forms of communication such as business communication or literary or subjective
communication. Dissimilarities lie in difference of purpose, immediacy of communication and identification
of audience. The first aspect writing for or in the workplace is often narrowly defined to organizational
communication. But some scholars argue for a broader view that includes private settings such as homes
as well especially after the pandemic. The second aspect that is writing related to technology is often
limited to specific branches of science, engineering or technology. But at the same time, it also includes
knowledge, actions and tools that are conducive to the generation of document as well. It encompasses a
range of written, oral and visual communication that helps people interact with technology in an effective
and efficient manner in the context of evolving digital tools and of course with their help. Therefore
documents that we often use, for example, user manuals, interactive simulations, videos and tutorials that
enable digitally enhanced learning or collaborative tools within workplaces, social media blogs and all
forms of technical documentation fall under the umbrella category of the term technical communication.
So we can say that at its core technical communication is about making complex information accessible
and understandable to a wide range of audiences and that is the basic purpose of technical
communication in fact. The idea behind technical communication is to pass on information in a manner
which is easy to understand, which does not have any time gap between communication and
understanding and which is targeted to specific audience groups using different techniques. A technical
writer who creates a user manual for a new software and a project manager who uses technical
communication skills in order to communicate the goals in progress of the project are both engaged in
forms of technical communication. Both roles demonstrate the skills in the field of technical
communication but their contexts are different. The technical writer focuses on creating user
documentation for technology while the project manager communicates information about the project and
fosters collaboration among stakeholders. We shall be looking at a video in the next slide. In this video,
Dr. Bruce Lambert explains using an example how simplification of complex information is the cornerstone
of technical communication. So if I were to focus on features in describing my research, I might say
something like I can take two drug names in either the orthographic or the phonological representation. I
can then use a variety of different orthographic and phonological similarity measures, compute a
numerical similarity score between those two representations and use that similarity score to predict the
probability of confusion. I can then use that probability of confusion, compare it to the actual probability of
confusion in the real world and validate my predictive index. So that's a description of the features of my
system in language that no one could really understand. Or I could say something like this by focusing on
the problem and the benefits. About 4 million times per year, people walk into pharmacies in the United
States and they walk out with the wrong drug. One of the main reasons that that happens is because drug
names are so similar that they're confusing. Out of these 4 million errors, a significant number of people
get hurt because they take the wrong drug or because they fail to get the drug that they need. My work
helps fewer people get hurt. So that's it. The availability of digital communication tools in the 21st century
across the spectrum of human interaction has led to the development of technical communication as a
nuanced mode of communication. It can easily take various forms including written documents,
presentations, videos and other multimedia formats. The content of technical communication can target
different types of audiences, specialists, journalists, hybrids, etc. And sometimes the same content is to
be shared with multiple target audience simultaneously. And therefore, it plays a crucial role in helping us
understand and use technology effectively in our daily lives. We can say that it also involves translating
complex technical information into a language that non-technical individuals, for example, users or
consumers can easily understand a particular technological idea or for that matter more specifically a
product. It also helps to bridge the gap between technical experts who design and develop technology
and the end users who interact with it. This can include instruction manuals, online help guides, user
interfaces as well as other forms of communication that aid in the use and understanding of technology by
diverse societal segments. Therefore, technical communication now involves the use of digital tools to
convey complex information in a clear and concise manner. It supports the successful integration of
technology into our work and personal activity. Digital tools and platforms that offer a wide range of
connectivity services have changed the way people communicate with each other. These tools have
made collaboration also easier, especially when working across different schedules and different time
zones. As a result, technical communication has become a critical skill for individuals working in various
industries including technology, academics, governance, engineering, healthcare and finance, etc. And it
leads us to the concept of technical competence. Technical competence refers to the knowledge, skill
and abilities required to perform tasks, develop problems and achieve results in a specific technical
domain. It encompasses a wide range of factors that contribute to an individual's effectiveness in a
technical role. Technical competence can be said to be a combination of knowledge, skills, problem
solving, attitudes, adaptability and effective communication within a specific technical domain. There are
three essential prerequisites to achieve effective technical communication. Primarily, we can say that it is
based on one's own subject area. The subject competence refers to a comprehensive understanding,
knowledge and expertise an individual possesses in a particular subject area. A high level of knowledge
and understanding of the subject area including key concepts, theories, terminology, historical
developments and latest inputs as far as the research is concerned are the basic requirements. Subject
competence calls for the ability to analyse, evaluate, link together information, interpret it and also ideas
related to the subject area regarding the futuristic developments. This involves the capacity to think
critically, identify patterns and draw connections. A competent professional possesses comprehensive
knowledge of the subject matter. Challenge is to present it in a proper and timely manner so that people
can understand it without any time gap and without any revision. So, competence is also the ability to
formulate research questions, to design appropriate research methodologies, collect and analyse data
and draw conclusions. It is a foundation for further specialisation, research and professional development
within a specific subject area, particularly when we talk about actively seeking opportunities to expand
our knowledge and skills through various channels. And we can also say that our subject competence is
often assessed through examinations, research projects, practical demonstrations, presentations and
participation in different type of events related with our core area. Technical competence, particularly in
today's world when because of the digital means available to us, communication is very quick and
immediate is not limited to static knowledge only. It also involves the ability to adapt to evolving
technologies, methodologies and practices, in short to stay updated with the trends in industry as well as
in research. Within the framework of technical communication, linguistic competence refers to an
individual's ability to effectively convey complex technical information using language which is appropriate
and audience centred and an awareness about the changing and fast evolving communication
techniques. Among other things, it also includes maintaining consistency in the uses of terms, referencing
to the abbreviations and adhering to establish standards about references and other details of
documentation practiced within the field. Also when adapting the document to wider audience, it involves
avoiding the jargon, explanation of technical terms in a proper manner, understanding the background of
the target audience, identifying the context within which the technical content is being shared, using
examples if required and employing an easy and perhaps an everyday language to enhance clarity and
accessibility, empathising with the requirements of the audience continually. It also suggests that as a
writer in the context of technical communication, we should also be aware of the level of digital
competence of the target audience. In the next slide, we have a video. We are referring to a video of a
linguist, Dell Hymes, who has expanded upon a concept of Noam Chomsky. Chomsky has talked about
linguistic competence, whereas Dell Hymes is introducing the idea of communicative competence.
Communicative competence is using interpretive skills to create and connect with others. For this reason,
he developed a theory of communicative competence. A language user needs to use the language not
only correctly based on linguistic competence, but also appropriately based on communicative
competence. He developed the four components of communicative competence, linguistic, sociolinguistic
discourse and strategic competence. Linguistic competence is the knowledge of the language code, not
only grammar, vocabulary, but also phonetics and the writing rules. Sociolinguistic competence is the
knowledge of sociocultural rules of use. Discourse competence is the knowledge of how to produce and
comprehend oral or written texts. Strategic competence is the ability to recognize and repair
communication breakdowns before, during or after they occur. Linguistic competence in technical
communication combines domain-specific knowledge with effective language skills. It enables
professionals to convey complex information accurately to ensure user comprehension and facilitate
successful communication. Today, online communication has evolved to adapt verbal language to reflect
speed and diversity. Linguistic competence becomes even more important and critical in these contexts.
While creating technical documentation, we must also use a clear and logical organization, providing step-
by-step instructions, incorporating visual aids of diagrams where appropriate and using the links in an
effective manner. It also involves checking for grammatical errors, ensuring a consistent language use
and improving the overall quality of written or spoken technical communication. In global context, linguistic
competence in technical communication also considers cross-cultural aspects. An awareness of cultural
norms, idiomatic expressions and potential language barriers ensures effective communication across
cultural boundaries. In cases where technical communication needs to be translated or localized for
different languages or cultures, linguistic competence becomes even more critical. Translators or localizers
must possess a deep understanding of both the source and the target languages along with the technical
subject matter to ensure accurate and effective communication across different linguistic and socio-
cultural contexts. The idea of organizational competence refers to our ability to effectively plan, manage
and execute technical communication projects within an organization or team in a lateral or upward or
downward manner. Technical communication projects often involve multiple resources such as subject
matter experts, writers, editors, designers and a person who can use different software tools which entails
effectively allocating and managing these resources. Facilitating effective communication, establishing
workflows and coordinating efforts to ensure a smooth collaboration and integration of different
components of project. Organisational competence requires actively engaging with these different and
diverse stakeholders, seeking their input as well as seeking their timely feedback and addressing their
requirements as well as expectations during the continuation of the project. In some industries, technical
communication must comply with specific regulations, legal requirements and standards. So we must
ensure that the technical communication materials adhere to these requirements and remain in
compliance with applicable guidelines or regulations. This also ensures that the correct and up-to-date
versions of technical documents are accessible to all relevant stakeholders and any changes or updates
are properly tracked, reviewed and approved. Technical communication involves a range of elements
designed to efficiently deliver intricate information to a specific audience. Let us now attempt to
summarize some of the notable features of technical communication that characterize its efficacy. When
we talk about the features of technical communication, we can list them as being empathetic, contextual,
supplemented and engaging. Now what do we mean by these words in this context? Our writings should
be reader centered. That means that we must recognize the technical level of our audience and adjust to
it. The extent of the background information which has to be supplied as well as our identification of the
requirement of supplementary information has to be done at our level. We must remember that the onus
of clear understanding of the document by the reader or the audience lies on us as the writers of a
technical communication piece. The onus of understanding in the context of technical communication is
never with the reader and this is the primary difference between literary and business communication and
the features of technical communication. Reader centered documents concentrate on providing
information that helps people learn, perform tasks or make decisions. While technical documents can still
have a distinct personality or voice, the focus is on delivering information that is not only useful to the
readers but also an objective one. Technical documents prioritize the needs of the readers over the
writer's personal thoughts and emotions unlike literary pieces. The subsequent section of this course will
emphasize the importance of reader centered writing and designs to help you bridge this concept in a
more comprehensive manner. Our technical writing should be clear, concise, accessible as well as
organized. When we talk about the clarity of a document in the context of technical communication, we
mean not only a suitable and clear language which is devoid of circumlocations and the use of jargons but
we also refer to a clarity of organization in which different portions of the write-up are properly managed
as per our identification of the reader's requirement. That also suggests that instead of writing lengthy
and verbose technical passages, we should be able to write in a concise manner which passes on only
the required information and does not have any fuzziness. This enhances the overall user experience,
saves time and effort in searching for relevant details and increases productivity. The accessible and
efficient communication in fact is not an abstract concept. In cases of lawsuits, inaccurate, unclear writing
is treated similarly to any other defective product or liable to injury, damage or loss. And particularly in the
context of digital mediums of communication available to us, clarity as well as efficiency and accessibility
have become the core concerns now. So we can say that a well-crafted, accessible and efficient technical
document demonstrates professionalism and expertise. It also enhances the reputation and credibility of
both the document creator and the organization they represent. Technical documents nowadays are often
produced by team efforts. They are normally not created by a single writer nowadays because they are
complex because of several factors we have already discussed. The teams which are responsible for
producing technical documents can be organized in different ways together at a single site or location or
they can be virtual teams. The collaborative and interdisciplinary nature of technical document production
recognizes the complexity and interdisciplinary nature of the subject matter. It also allows for a
comprehensive and well-rounded approach to developing our documents. Team collaboration enables the
pooling of knowledge, skills and resources to develop comprehensive and accurate technical
documentation. Nowadays our documents in the context of technical communication can be delivered
either in a paper or in a digital version. They now have the flexibility to be delivered in different media
formats which allow for different methods of consumption and access by the target audience. Therefore,
we must have the ability to consider the page design and make appropriate choices regarding the media
format. We should be able to think how the content will be presented visually ensuring readability and
user friendly navigation in digital formats while also considering the potential requirements of print
formats. By leveraging different media formats, technical communicators can reach a wider audience,
cater to diverse learning preferences and enhance the usability and accessibility of the information they
want to convey. It emphasizes the need for technical communicators to possess an understanding of how
different media choices can influence the effectiveness of their communication efforts. So, online
platforms and forums serve as hubs for technical discussions. These platforms such as Stack Overflow,
GitHub, Reddit, Quora and specialized industry forums provide a dedicated space for individuals to
engage in technical discussions. Users can also post questions, share insights and participate in
conversations related to specific technical topics, tools, programming languages or industry specific
challenges. Online platforms and forums provide immediate access to a vast amount of information. This
accelerates the learning process and helps individuals find solutions efficiently. Such online platforms and
forums also facilitate networking and collaboration among technical professionals. Users can connect with
like-minded individuals, industry experts and potential collaborators leading to opportunities for joint
projects, mentorship and career development. And it has brought about several major shifts in today's
context. Platforms like Microsoft Teams, Slack and Google Workplace provide real-time document
sharing, video conferencing and task management capabilities allowing geographically dispersed teams
to collaborate seamlessly. Modern softwares like PowerPoint and Prezi enable technical communicators
to create engaging and visually appealing presentations that enhance understanding. Virtual and
augmented reality systems along with the advancements in machine translation and natural language
processing have further improved the accessibility and accuracy of technical communication across
language and cultural barriers. We can say that technology is reshaping the forms of technical
communication. Conventional practices and technical writing have to accommodate these digital changes.
Digital changes have added to the accessibility and efficiency of communicating complex technical
information. Global communities linked together through digital technologies have led to the sharing of
social, political and financial interests that transcend regional and national boundaries. By effectively
communicating research findings and innovative solutions, technical communicators can raise awareness,
mobilize support and encourage collaborative efforts to tackle these challenges on a global scale.
Translations of research papers and technical documentation make technical knowledge accessible to a
wider audience, allowing researchers from different linguistic backgrounds to contribute and learn from
each other. In conclusion, we can say that technical communication plays a crucial role in establishing
standards and ensuring interoperability across different countries and industries. This allows for a
seamless communication and integration of systems, products and services on a global scale. It further
fosters localization. Technical communication helps overcome language barriers, allowing products and
information to reach a broader global audience in their own languages. Successful collaborations in such
settings require communication that embraces and reflects this diversity. Technical communication thus
plays a vital role in technology transfer, enabling the dissemination of advancements from one region or
country to another. It also helps in fostering economic development and progress worldwide. The COVID-
19 pandemic has highlighted the dependence on digital tools across workplaces as well as essential role
of technical communication across workplaces.

In the previous module, we had looked at what constitutes technical communication, what are its
challenges in the digital age and its evolving features across diverse fields of expertise. In today's module,
we will further delve into the facets of workplace communication and the different skills required to attain
enhanced productivity in workplace keeping pace with the advancement in the digital communication
media. Workplace communication can be understood as a process of exchanging information, ideas and
messages between and amongst individuals and groups within an organization primarily. It includes both
structured as well as casual interactions taking place at various hierarchical levels such as interpersonal
lateral communication between colleagues and team communication between managers and employees
that is lateral downward and upward communication. Communication enables organizing by coordinating
human activities, facilitating task accomplishments, network sharing, control and management. Let us try
and understand what it means to be good at communication within your workplace. In the next slide, we
have a video which illustrates the differences in workplace communication with a practical example. Think
about it. Let's say we're deciding between two real estate agents to help us buy our first home. Since they
make a commission off the transaction, we're kind of hiring them for a job. The first person says, I'm really
good at communication. The second one says, I am reachable via text message all the time and I respond
within a half hour. I use a questionnaire that I worked through with you to make sure I'm helping you find
every house that fits your goals. I use a database online to help you keep track of the homes you've
considered and anything we've learned together about them. One person is making a general claim and
they might have a different definition of good at communication than we do. The other is making some
specific claims that we could hold them to. Specific communication skills should inspire a lot more
confidence. The example above illustrates that effective communication extends beyond mere verbal
expression. It encompasses elements such as responsiveness, employing suitable channels to pinpoint
client feedback and needs. All align with the overarching objective of achieving desired outcomes.
Communication therefore not only creates a context for organizing, but also serves as a means by which it
is achieved and also is influenced by the process of organizing as individuals experience and make sense
of their roles. Within organizations, communication plays a crucial role in guiding relationships both
horizontally and vertically and shapes responses to different official initiatives. Online communication is
now essential and fundamental to how work is conducted in modern professional environments. Virtual
teams consisting of geographically dispersed members collaborating on projects have gained momentum
in recent years due to advancements in technology and globalization. And also there is a growing need for
flexible work arrangements. Online communication tools and platforms enable real time or asynchronous
interaction ensuring that work can progress smoothly and efficiently without significant delays. A
synchronous communication is transmission of data generally without the use of an external clock signal
where data can be transmitted intermittently rather than in a steady stream. For example, we can look at
the way emails are exchanged and bulletin board systems work in the context of modern workplaces.
Traditionally, infrastructure was associated only with physical arrangements and elements. For example,
office buildings, utilities, Xerox machines and transportation, et cetera. In online workplaces, the focus has
now shifted to digital infrastructure including high speed internet, cloud servers and cyber security
measures. Therefore, we can understand that digital solutions provide avenues for exchanging ideas and
fostering team works. Whether this communication is using the email, instant messaging, video
conferencing and several other project management tools. Also digital modes of communication in
modern workplace offer benefits such as flexibility, time efficiency and cost saving by eliminating the need
for physical meetings and reducing travel expenses. Online surveys and feedback forms collect input
from employees enabling organizations to make informed decisions and address concerns without holding
various physical meetings. Performance indicators and metrics for remote work help assess productivity
and employee engagement. When managed effectively, online workplaces lead to improved productivity,
increased talent pool access and resilience in the face of unexpected challenges. There are several apps
which are available for online group communication offering a range of features and functionalities. In
addition to popular apps like Telegram, Microsoft Teams, Google Meet and Zoom, let us also explore
some other options for online collaboration in the workplace. We can refer to Slack and Discord. Slack is a
widely used team communication platform that offers real time messaging, file sharing and integration with
various third party apps. It also provides channels for different topics or teams, private messaging and
voice as well as video calls. Discord was originally designed for gamers but has evolved into a versatile
communication platform for communities and groups. Offering text channels, voice channels, video calls
and screen sharing and supporting integration with other apps also. Other well known project
management and team collaboration tools are Trello and Basecamp. They offer features for group
communication, task management, document sharing and scheduling. Basecamp has a simple intuitive
interface and flat rate pricing model. It is popular among teams who want a straightforward project
management solutions. Trello, if we try to draw a basic comparison, also has a customizable and card
based system. It allows for a visual representation of tasks and workflows and it is more popular among
teams who prefer flexibility in project management. The figure on the left hand side of the slide illustrates
it in the form of a graph. I have referred to only a few examples. Other options are also there. The choice
of the app depends on the specific needs of the group and also the preferences which the group as well
as the workplace environment may have. It is recommended to explore the features, pricing and user
reviews of each app to determine which one best suits your needs. Let us now look at some other
pertinent aspects of workplace communication such as verbal, non-verbal and cross cultural
communication within the context of the digital era. Verbal communication allows for immediate feedback
and clarification and is effective in conveying emotions and tones through paralanguage. Today, VoIP
technology including services like Skype and VoIP enabled phone systems allow for cost effective and
high quality voice communication over the internet. Presentations and webinars are often delivered
virtually combining verbal communication with visual aids and interactive features to engage audiences.
Smart voice assistants like Siri, Alexa and Google Assistant are used for quick voice commands and
information retrieval, streamlining tasks and providing hands free communication. A common perception is
that the digital age does not allow us to fully utilize non-verbal communication. However, there are
several non-verbal cues which can be effectively used in digital communication also in written as well as
oral digital communication. Non-verbal communication in the workplace involves the transmission of
messages, feelings and information through non-verbal cues such as facial expressions, gestures, tone of
voice, background management, focus of lights, accessories, etcetera. In virtual meetings, individuals
must be aware of their online presence including their positioning in the background which is visible to the
others. In collaborative online meetings, participants can use screen sharing and annotation tools to
highlight points and provide non-verbal visual cues. Leveraging video conferencing using emoticons or
emojis in comments and utilizing clear and descriptive language also compensate for the absence of non-
verbal cues. A significant way to replace body language is through the visuals we use in our
presentations. We can use different ways for it. While choosing the online presentation tools, we should
evaluate their audio-video capability, cloud access and storage import and export feature and also of
course, the ease of use among other things. We can try to replace body language through the visuals with
the help of PowerPoint slides, Google slides, Keynote, Prezi Basic, Zoho Show, etcetera, etcetera and
you would find that a rough list is presented here. But we find that there are innovative and continuously
newer ways to incorporate substitutes for body language in online presentations. Backgrounds take on a
greater importance in virtual presentations than they do in real life. They set the scene and give the
audience non-verbal cues about you and your relationship with the event as the background becomes a
context even though you might not be aware of it. If you have a choice, try to have a background that is
uncluttered, plain or with features that reinforce the image you want to project. While we work from home,
we can also utilize the different options which certain apps provide to us. For example, Zoom and
Microsoft Teams have virtual background functions already integrated, making it easy to swap your
clutter for a professional background. Google Meet also allows you to blur the background. One of the
most powerful communication tools is human face and remains so in offline as well as online
communication. We communicate as well as interpret facial expressions of each other without any formal
training. And people tend to believe the looks on one's face rather than what they are being told with the
help of words only. So we can see that the confidence, confusion, friendliness, etc. are conveyed through
smiles, frowns and eyes which help us to determine the congeniality and trust, even deciding the level of
intelligence in a person. Our facial expressions may be voluntary as well as involuntary. They are
involuntary as many of them are instinctive. They are illustrators, sometimes almost universal expressions.
They are voluntary also in as much as they are socially coordinated. If we are using affective displays to
fake an emotion and voluntary non-verbal expressions are also a part of learnt behavior and therefore
they have more cultural variations. Macro and micro expressions should also be understood in this
context as they speak a lot not only about us as an individual, but also about our command over the topic,
the relationship which we have with the content which we are trying to share with the others and the
relationship which we want to establish with the audience even though they might be faceless to us while
we are sitting only in front of the screen. My NPTEL SWAM course on body language studies these
aspects in detail. I would also point out that in online communication whenever the face is visible, the
eyes and mouth need special attention. Eye contact is an integral part of human interaction. In fact, it is
hard wired into us and controlling a person's gaze results in better retention and therefore often we say
that we should try to look into the eyes of the speaker and that we listen to a person not only with our
ears, but also with our eyes. It is easier in offline communication, but how do we manage a direct eye
contact in online communication? It is important that in online communication we do not look at faces on
the screen or we are not tempted to look at our own face. Looking directly into the camera provides the
impression that you are looking into the eyes of the audience. So, we have to be aware about the position
of the camera. Is it somewhere in the side? Is it on the top of the screen? Is it towards the bottom of the
screen? Whatever the location of this camera on the screen is that would give you the clue that looking at
the camera only would provide the impression of direct and therefore a confident interaction. Mouth also
plays a major role in communication of emotions. It is supported by our teeth and tongue and even the
routine activities for which our mouth is used for example, speaking and talking communicate a lot about
the person. We can also talk about the different types of smiles as well as the absence of a smile on a
face. A professional or particularly a friendly smile which also reaches your eyes helps you in coming
across as a friendly and open person. Absence of a smile would make you rather rigid looking. As the
pictures on the left hand side of the slide illustrate, mouth also conveys evaluation gestures and they are
important during any dialogue particularly at the workplace. Before the decision is made and verbalized
conveyed to you in an audible manner, these hand gestures and these gazes shifts also give us a window
to negotiate if we are able to interpret it correctly. The normal advice is that in any position of interaction
where face is visible, we should avoid covering any portion of our mouth, any eyes, any evaluatory
gesture so that we come across as an open communicator. Smile particularly has to be viewed as a
multipurpose expression. It is considered to be the universal smile of happiness, but now we find that
people also use as a mask. People smile when they are happy, but we also learn to pass on social smiles
without feeling actually happy as part of general societal behavior and interaction. So a smile in the
professional world does not necessarily indicate a specific emotional state, but nonetheless it suggests a
friendly and open personality which is willing to continue with the dialogue. Smiles also carry different
connotations and also have cultural associations which govern demonstrations or suppressions also
occasions. For example, in Japan a smile can also indicate concealment of embarrassment and therefore
in online workplaces the cultural interpretations of a particular body linguistic sign becomes important for
us to understand. Other aspects of NVCs which are pertinent in digital forms of communication are
haptics that is the language of touch and chronemics that is the language of time. Their applications have
evolved with advancements in technology. Understanding and adapting to these changes in non-verbal
communication aspects are important for effective communication and interaction in today's digital
landscape. Devices such as smartphones and game controllers provide tactile feedback through vibrations
enhancing the user experience in gaming and touch screen interactions. Digital tools such as calendar
apps and scheduling software are instrumental in efficient time management particularly when it comes to
coordinating virtual meetings across various time zones. In the digital era the demand for timely
responses to messages and emails underscores the significance of punctuality and responsiveness in the
online workplace. Body language remains significant during video calls and virtual meetings and
participants should be mindful of its various aspects, facial expressions, posture, gestures etc. to convey
engagement and professionalism. It is essential to utilize both verbal and non-verbal elements to achieve
effective communication. We should also try to adjust different aspects of communication as needed to
establish a shared understanding and connection with others. The communication accommodation theory
suggests that successful communication is not a one size fits all approach, but rather a dynamic process
that involves adapting to the unique dynamics of each interaction. Communication accommodation theory
or CAT was first proposed by Howard Giles, an American social psychologist in 1971. It is a framework
that explains how individuals adjust their speech style while interacting with others. It emphasizes the
importance of positive interpersonal communication and the creation of shared meaning within a context.
Successful communication according to this theory depends on the ability of each party to adapt to verbal
as well as non-verbal cues, the situation and practical strategies such as team building and emotional
expressions. This theory also provides insights into micro and macro levels of interpersonal and
intergroup interactions including perception, behavior and context. We have seen that the pandemic
served as a catalyst for the widespread adoption of online communication tools and platforms. With
physical office spaces inaccessible, teams had to find alternative ways to collaborate online to find
collaboration tools, project management platforms and cloud based document sharing and these aspects
became vital for maintaining productivity and ensuring a seamless teamwork. Cross cultural
communication is important in online workplace. It refers to the exchange of information, ideas and
messages between individuals or groups from different cultural backgrounds. Diversity in cross cultural
communication is not only important rather it is essential for fostering understanding, inclusivity,
innovation and effective collaboration in a multicultural and interconnected world. Cultural awareness
enhances relationships, decision making processes, financial performance, staff management, marketing
strategies and meeting diverse customer needs. It involves navigating and understanding the cultural
differences, norms, values and communication styles that exist across diverse cultures. We shall look at a
video now. It is by Helena Mersch-dorf, a social scientist. She delves into the intricacies of cross cultural
communication elucidating how these dynamics are encoded and interpreted within the context of cultural
perceptions in the global marketplace. Language allows us to encode and decode meaning. But to crack
the code we need a shared set of pre-existing concepts. Now many of these concepts are passed down to
us from our culture and ultimately shape our world view. And the lack of a shared world view is what
makes intercultural communication so difficult. Let me illustrate what I mean. Here we have person A and
person B. Their world views have each been shaped by their cultural influences on a broad societal level
and by their personal lived experiences on an individual level. And together these things give them each
a distinct lens through which they view life and through which they filter their communication. So when
person A communicates they encode their message into verbal and nonverbal signals which are then sent
to person B and filtered through the lens of person B where they're recoded to reconstruct the message.
But because of the filtering process the message that arrives can be highly distorted and as this process
goes back and forth the likelihood of invisible misunderstandings mounts. And I call them invisible
because in many cases one or both communication partners are unaware that it's even happening. Like in
the following example. An American company selling high-end tech products was looking to break into the
Chinese market. Talks and negotiations had been going well with a potential buyer and the Americans
considered it a done deal. To celebrate they invited the Chinese delegation out for dinner at a fine local
restaurant. Now as the Chinese delegation arrived the head of the delegation was greeted by a junior
member of the US team. The Chinese delegate asked the American where he should sit to which he was
told sit where you like. Now the next day the Chinese delegation left the US without signing the contract
and days later the American team received word that the Chinese had felt humiliated and were
reconsidering the business relationship. Globalization has led to a re-evaluation of how diversity is
approached considering its significant impact on societies, organizations and interactions between
cultures and nations worldwide. However, culture deeply affects communication sometimes in subtle yet
profound ways influencing trust, moral flexibility, leadership and communication competence. Group
communication primarily focuses on ensuring member engagement and progress towards goals through
activities like briefing sessions, setting agendas and sharing updates. Online groups can exist within an
online workplace or outside of it and their purpose may extend beyond work related activities. They can
be formed for various purposes such as professional networking, interest based communities, support
groups or academic collaborations. They are often platform specific and dependent on the platform to
establish norms and standards of communication. WhatsApp groups are a prominent examples of online
groups for communication and collaboration. Its theme and description provide information about the
group's purpose, topic or focus. Group administrators have additional privileges to manage the group
settings and members can also leave the group imparting individuals control over their level of
engagement. Microsoft Teams on the other hand is a comprehensive collaboration tool that integrates
with other Microsoft Office apps. It enables chat based communication, video conferencing, file sharing,
task management and integration with other productivity tools. Similarly, each platform dictates the
dynamics of the group and standards of behavior and collaboration expected from the members. Let us
now look at some of the challenges as experienced within online workplace communities. I would refer to
Liane Devey, a well known consultant for enhancing productivity in teams who addresses multiple
challenges posed by the virtual nature of workplaces in addressing conflicts. In virtual teams, building
relationships and recognizing potential issues can be challenging without casual interactions.
Uncomfortable discussions may take place over video conferencing or through emails which are not ideal
for conflict resolution. Procrastination is easier in virtual teams as there are no daily encounters to prompt
resolution. Delayed conflict can escalate into a bigger problem. Conflicts may lead to stress, frustrations,
reduced efficiency and also low job satisfaction leading sometimes to retention issues within the
organization. However, conflicts can also be beneficial for change. Positive and transparent
communication and respectful feedback exchange increase the likelihood of constructive conflict
resolution. At this point, we would discuss some other major concerns in the context of digital
communication and they are groupthink, homophily and social loafing. Groupthink is a phenomenon that
occurs within a group or team when the desire for harmony and conformity overways critical thinking and
independent evaluation of idea. As a result of it, the group may make poor decisions and sometimes may
even overlook potential flaws in their chosen course of action. Because of groupthink, it develops an
unquestioning belief in its own righteousness leading to a close mindedness. Homophily refers to the
unfortunate tendency to associate with others who are similar to ourselves, leading to a lack of diverse
perspectives and potential innovation. So, understanding sub communities within homophily can provide
insights into the social dynamics and pattern of interactions within a network. But it definitely leads to
certain biases which kill a positive work culture even in online communities. Online networks and
algorithmic influence allow individuals to self-select their connections and curate their online presence.
Homophily may limit exposure to diverse perspectives and result in echo chambers or filter bubbles,
concepts which we have taken in certain other modules also. Social loafing refers to the phenomenon
where individuals exert less effort or contribution when working in a group compared to when they work
individually. In group setting sometimes an individual may feel a decreased sense of personal
accountability or responsibility for the proper outcome of the task. Individuals may also experience
evaluation, apprehension in group settings worrying about how their performance will be judged or
evaluated by others. Social loafing can result in some individuals taking advantage of the collective effort
of others without contributing their fair share. And these challenges require leaders and team members to
be more mindful of their communication, actively listen to understand different perspectives and make
intentional efforts to foster positive relationships within the virtual setting. Open and transparent
communication in the digital era along with the use of video conferences or other virtual platforms can
help mitigate some of these difficulties and enable successful conflict resolution and a smooth transaction.
And therefore, we find that in the workplace digital etiquettes become very important. Digital etiquettes
refer to the guidelines and principles of polite and respectful behavior when interacting with others in
digital environment. And digital etiquette is crucial to maintain professionalism to have effective
communication and positive working relationships. And they involve not to pass on false information, to
be transparent about our communication, about the authenticity of what we say. Also minimize our digital
volume and think wisely before committing ourselves in any way. It is a personal quality which
encompasses respect and kindness in online interactions. Digital communication in modern workplaces
has come up with their own challenges which were unforeseen earlier. For example, working at the same
time with people who are living in different time zones or when we have to interact with people outside the
regular working hours. So, digital etiquette requires that we have to be sure of their availability and foster
a respectful and inclusive online environment which does not convey any form of harassment. At the
same time, we should be very aware of the cyber security risks such as phishing attempts, malware and
hacking and report all suspicious activities or incidents promptly to relevant authorities. We should also be
aware of the net neutrality legal frameworks which may exist differently in different countries and
societies. So, we should be aware of the legal framework within which a person is working but might be
located in a different geographical region. Thus, we can say that effective online communication requires
adaptation, flexibility and empathy. It is not just a skill but it is a fundamental pillar of a thriving and
dynamic workplace. Whether it is verbal or non-verbal communication, active listening, a sensitivity to
non-verbal cues and digital exchanges, mastering the art of communication are essential for both
individual and organizational growth. By cultivating these skills and promoting a culture of open and
honest communications, organizations can reduce misunderstandings, conflicts and inefficiencies. The
ever-evolving landscape of technology continues to reshape the way we communicate at the workplace.
Staying adaptable to these changes is key to staying competitive in today's fast-paced global market. In
the next module, we shall examine how to tailor our online communication to the needs of specific
audience groups.

Every piece of technical communication targets individuals who will utilize and are expected to respond to
this information. These individuals who are ultimately the audience as far as our document is concerned
read the content to accomplish a task, to take a decision or to acquire knowledge. The audience can vary
depending on the context and purpose of the communication, but they are typically individuals ultimately
who have a specific interest, need or connection to the subject matter. In the context of digital
communication, the audience can further change over time due to factors like market evolution,
demographic shifts, technological advancements and regulatory changes as well as differences.
Therefore, adapting to changing audiences is a fundamental aspect of effective digital communication. In
technical communication, audience is always very specific. It presupposes a certain knowledge base and
requirements within a specific context. The requirements of technical communication are vastly different
from those of literary communication or for that matter even business communication. To write effectively,
it is crucial first to determine and understand the specific audience who will be reading the document. The
key to preparing an effective document lies in conducting a systematic analysis of our audience and
understanding how they will engage with the content. This involves identifying their characteristics and
how they are going to utilize the information which we are providing to them in digital mode and also how
well they are able to understand the technologies related with the communication. An audience profile is a
detailed description or analysis of the target audience for a particular communication or marketing effort. It
involves gathering and organizing relevant information about the audience in order to understand better
their characteristics, technical level, background information they might possess about the communicated
message, suitability of our language choices, their preferences, needs and behaviors. By preparing the
audience profile, we can effectively tailor our messages, content and strategies to engage and resonance
with the intended audience. This profiling also helps in humanizing the target audience and it makes our
efforts more personalized. The first profiling is about the technical level of the audience we shall be
addressing to. Are they novices or are they experts or do they have a different specialization? Profiling
also includes demographic data such as age, gender, location, education, occupation, income and other
relevant factors. It may also incorporate psychographic information including interests, hobbies, values,
attitudes and motivations. So what are the questions which must be asked in this context? Certain possible
questions are mentioned in this slide. For example, who is the primary audience for this document? What
is your relationship with the audience? Are there multiple types of relationships involved? And what
specific information does the audience require? How familiar are they with the technical details and do the
readers have varying levels of expertise? How might cultural differences influence the reader's
expectations and interpretations? And how would they interact with the material digitally, on paper or in
both ways? We should analyze the audience behavior including their media consumption, online activities,
even purchasing habits and social media usage. Understanding how they engage with different platforms
and their preferred communication channels can guide the selection of appropriate channels and tactics
for reaching and engaging the audience effectively. Also, while creating a technical document, it is
essential to consider at least two distinct audiences. In addition to the primary audience, most documents
also have a secondary audience consisting of those individuals who are not directly involved in the
immediate use of the information but somehow they are likely to be connected with it. So the majority of
documents are targeted towards the primary audience which consists of immediate readers and therefore
this type of profiling is easier. Typically, the primary readers are the document's main users, perhaps even
the ones who had requested for its preparation. Let us imagine a software company which has recently
developed a new mobile application targeting the fitness enthusiasts. The primary audience for the
technical communication related to this mobile application would of course be the end users or individuals
who shall be using the app. Identifying the primary audience is a critical step in technical communication
because it allows the communicator to tailor the message, language and level of detail to meet the
specific needs and expectations of the intended recipients. Secondary readers support the project. They
offer specialized advice to decision makers or they are the ones who will be impacted by the document in
some other way. The support personnel such as customer service representatives or the help desk staff
and regulatory authorities and compliance officers, etc. may be part of the secondary audience. Technical
communication may also have a secondary audience of media personnel or public relations
representatives who use the technical information to create accurate and compelling content for news
articles, press release, marketing materials and different online social media platforms. The secondary
audience can also represent certain other fields. For example, they may be financial experts, legal
experts, people who are critically looking at the environmental impact of the project, etc. The secondary
audience may also have different levels of technical expertise or require specific information for their
respective roles. It is essential to consider their needs and expectations when preparing technical
communication, ensuring that the information is accessible, accurate and beneficial to all stakeholders,
even if they are not the primary recipients. We should also be clear about defining the purpose of the
document. The specific objectives we aim to achieve with the preparation of our document should be very
clearly mentioned right in the beginning of our proposal or draft, etc. We have to think of what is the
primary objective of preparing the document. At the same time, are there any additional objectives that the
document serves and how do we anticipate readers will engage with the provided information. By
answering these questions and similar many other questions, we can precisely identify the purpose of our
document and align its content and structure accordingly. In addition to the primary purpose, many
documents also have one or more secondary purposes. For instance, in a typical instruction manual, the
primary purpose is to provide guidance on assembling or using a product. However, companies also
include secondary purposes, which are driven by ethical and legal considerations, such as ensuring the
safe usage of the product. For example, a user manual for a power tool or even a lawn mower often
begins with a page which is dedicated to highlighting safety hazards and precautions before providing
equipment related instructions. Our purpose statement should be written in a concise and focused manner.
It should clearly define the objectives and intentions of a document, whether it is a report, a presentation
or a project proposal or any other type of document. It should articulate the specific purpose and goals
that the document aims to achieve. A purpose statement typically highlights the document's main
audience, primary objectives and sometimes secondary objectives. When planning our document, we
should start with a concise statement that specifies the target audience and outlines both the primary and
the secondary purposes. The purpose statement should serve as a guiding principle to ensure that the
content, structure and tone of the document align with the intended purpose and efficiently communicate
the desired message to the readers or audience without any fuzziness. By formulating such clear
statements, we establish a solid foundation for the content and direction of the document. Apart from
these, it is also necessary for us to consider how and why others would use the document. We should try
to enquire whether the readers are more inclined towards acquiring factual knowledge or understanding
the concepts or whether they will utilize the information for decision making purpose. In the context of
technical communication, we often find that the context can be easily established for answering these type
of questions. We should also consider whether immediate actions can be taken based on the provided
information and whether the readers require a more detailed step-by-step instructions so that it can also
be used after a certain time gap. In addition to answering these questions, we should also consider directly
asking members of our audience to validate their specific requirements in terms of information. This
approach allows us to verify their preferences and ensures that our document effectively addresses their
requirements. When writing for someone familiar to us, such as a co-worker, a colleague within the
engineering departments, a professor in the same unit reviewing your lab reports or your thesis
supervisor, you have to customize the report to suit their specific knowledge level, their interests and
requirements. However, certain audiences are broader and less specific. For example, readers of a
journal article, readers of user manuals, a set of first aid procedures would also be read by non-specific
readers or an accident report which can be evaluated by experts of different fields. When we have a
limited understanding of the audience background, we must determine whether the document should be
highly technical, moderately technical or even non-technical targeting a layperson. However, our
approach should always be in favor of the audience that is least exposed. The technical background of
the audience plays a significant role in determining the linguistic choices, the technical background we are
providing, the content as well as the level of our documents. A technical audience refers to those
individuals who possess an in-depth knowledge, expertise in the field and understanding of the subject
matter, people who are acquainted with the latest trends. Technical communication targeting this
audience can involve in-depth technical documentation, research papers, engineering specifications,
advanced technical training materials and also technical abbreviations. Technical writing should utilize
industry specific language, acronyms and terminology that are likely to be familiar to the target audience.
It shows our credibility and ensures a clear communication among professionals in the field. Examples of
a technical audience include scientists, researchers, engineers or specialized professionals within a
specific field. Technical communicators must understand the specific needs, expertise and expectations of
their target audience in order to effectively communicate the technical information. A semi-technical
audience consists of those individuals who may be familiar with the subject matter but lack the same
technical expertise as a specialized audience. They may therefore require more contextual explanations
and simplified terminology in order to grasp the information in an effective manner. Instruction materials,
user guides or introductory technical content can be directed towards a semi-technical audience.
Communication for a semi-technical audience aims to balance technical accuracy and accessibility in
such a language so that even an educated person who may not be trained in the related field is able to
understand and act upon the instructions which are given through our technical writing. While technical
accuracy is important, we should also be careful of not burdening the semi-technical audience with
excessive technical details. We should create opportunities for the semi-technical audience to ask
questions or seek clarifications, particularly in the context of digital communication. We should encourage
their engagement and provide avenues for further learning or exploration for those who wish to dive
deeper into the technical aspects through the interactive measures available to us in the digital formats. A
non-technical audience refers to individuals who have limited or no background knowledge in the subject
matter. They may require information to be presented in a clear, accessible manner using non-technical
language, easy day-to-day words and providing ample explanations and examples of which they can
relate to. These audiences could include the general public, stakeholders or individuals from different
professional backgrounds who are unfamiliar with the technical aspects of the topic or people who are not
highly educated even. Examples include consumer product instructions, public awareness campaigns or
general educational material. Understanding the distinctions between these audience types allows
technical communicators to tailor their content, language and approach to meet the needs and
comprehension levels of the intended recipients. Adapting the communication style accordingly ensures
that the information is effectively communicated and understood by the target audience regardless of their
background. In certain cases, a single document may be aimed towards audiences of two different kinds
and here are some strategies to facilitate smooth transitions in such cases. For shorter documents which
run into less than two pages like letters, memos or emails etc., we can even consider the possibility of
preparing different drafts, that is rewriting the content at different levels to cater to different backgrounds.
For longer documents exceeding two pages, we should prioritize addressing the needs of the primary
readers likely to have the relevant technical knowledge. Additionally, we should provide supplementary
materials such as appendices, glossaries, hyperlinks or other accessible resources to assess secondary
readers with different levels of expertise. Transmitted letters and informative abstracts can also aid non-
experts in understanding highly technical reports. We can also think of providing a more in-depth technical
information for the technical audience while presenting a simplified high-level overview for the non-
technical audience. This ensures that each group receives the appropriate level of information without
overwhelming or underwhelming either audience. Digital documents such as web pages, blogs, wikis,
PDFs and shared drive documents offer a great solution for addressing diverse technical levels within an
audience. These digital formats provide the flexibility to incorporate interactive features like hyperlinks,
tabs and other interactive elements. They help to direct different audiences to content which is tailored to
their interests and backgrounds. We can also think of incorporating multiple entry points into the digital
document. This would help us in accommodating different levels of audience with different types of
familiarity with the subject matter. Unlike traditional printed materials, digital documents can be accessed
by multiple users simultaneously regardless of their location. For example, a digital document could
provide a high-level overview or an executive summary for newcomers or non-technical audience. While
it may offer more detailed sections for experts or those seeking in-depth information. A digital document
has intuitive navigation and robust search functionality that allows users to quickly locate the information
they seek regardless of their background or experience. We should also think of the feedback
mechanism particularly when we are planning a digitally uploaded document. This allows users to provide
feedback or to ask questions in an interactive manner directly within the digital document. It would also
help us in continually improving on our documentation and provide an opportunity to address specific user
needs or concerns without any delay. Geographical boundaries do not limit digital documents and
therefore they are especially valuable when readers come from different countries or cultures. Web-based
documents allow readers to choose their country, language or culture through links. It ensures that they
receive properly translated and localized information that is adapted to their specific needs and
preferences. We will examine technical communication and its scope in the later parts of this module.
Now let us discuss how to anticipate the preferences of the audience and the strategies to measure it.
The length and level of detail in our document is to be based on our understanding of the audience
requirements. We should consider whether we are specifically requested to keep the document concise or
provide comprehensive information. We should also be aware of the in-house policies in terms of the
length and level etc. We should also determine whether the audience is primarily interested in the
conclusions and recommendations or if they prefer a more thorough explanation with everything spelled
out. This would have a direct bearing on the manner of our writing. We should recognize that people have
different attention spans and it can vary based on the context as well as medium of communication. Some
individuals may prefer shorter concise content that gets straight to the point while others may appreciate
more in-depth comprehensive information. We should further consider the medium and channel through
which the content is to be delivered. Social media platforms often have character or time limitations. In
contrast, long form articles or videos may be more suitable for dedicated websites or educational
platforms. We should also decide on the format of the document which is likely to be expected by our
audience depending on the analysis of the situation within which we are preparing this document. It can
be a letter, a memo, an email, a short report to be uploaded or a longer formal report with different
subtitles and hyperlinks like a title page, table of contents, appendices etc. We should determine if the use
of visuals and well-designed page layouts such as charts, graphs, drawings, headings and lists can
improve the accessibility of the content. We should decide whether the document should be provided as a
PDF, a website with embedded links, a printed hard copy, a social media post or a combination of these
formats. We should also ensure that the chosen format is adaptable and accessible to the target
audience. We should consider factors such as language preferences, visual impairments or technological
limitations that may impact the audience ability to access or engage with the communication. We should
also be able to provide alternatives or accommodations when necessary to make the content accessible
to a wider audience. The tone of communication refers to the attitude, style or manner in which the
message is conveyed and it plays a crucial part in shaping the overall perception and reception of the
communication by the audience. The tone should be aligned with the characteristics of the specific
audience, their preferences and expectations. Workplace readers expect a tone that reflects the
importance or urgency of the topic while considering the relationship between the writer and the reader. It
is crucial to maintain professionalism and avoid using an unprofessional tone that is commonly seen in
tweets, text messages and casual emails among friends outside of the workplace. The tone we choose
may range from friendly and encouraging to rather distant and official depending on the context. By
understanding the audience, reflecting on their values, maintaining professionalism and establishing
empathy, adapting to the subject matter, tailoring to the communication channel and seeking feedback,
we can develop an appropriate and effective tone that resonates with the specific audience we are
addressing. Workplace documents typically have deadlines, so it is essential to determine when they need
to be submitted. We should consider creating a schedule with milestones to ensure timely completion and
should also consider whether any of the information in the document might become outdated if we delay
its completion. When setting a deadline, it is crucial to consider the time needed for the audience to
receive, process and engage with the communication, especially if it requires their input or action. We
should also consider the frequency of communication and the availability of the audience when setting
deadlines. For one-time communications like announcements, the deadline may be fixed. For ongoing
communications like newsletters, we should set realistic deadlines to maintain regular and timely delivery.
We should also take into account the availability of the audience, including holidays and weekends, etc.,
to ensure maximum engagement and participation. And ultimately, it boils down to the budget perhaps.
We should also evaluate if the document has a prediction budget and if so, we have to determine the
allocated amount. We have to identify areas where we can save money, such as obtaining the permission
to use external materials or in web design and page layout. We should also assess the time and financial
resources your company or organization can allocate for creating the document and ensuring that you
stay within budget and meet the requirements efficiently. We should also allow flexibility in the production
budget to accommodate unexpected expenses, adjustments or contingencies that may arise during
production. We should also evaluate the potential return on investment based on the target audience
responsive behavior. A well-executed production that resonates with the audience can generate positive
outcomes, such as increased brand recognition, customer loyalty or revenue or an acceptance at a higher
level. The production budget should align with the projected ROI, that is the return on investment and
desired outcomes. Regularly reviewing and analyzing audience feedback and engagement metrics can
help refine and optimize the length of the content to better suit the preferences of the specific audience. In
the digital age, audiences are active participants in the content ecosystem, emphasizing the need to build
a sense of community, promote dialogue and be receptive to feedback. Audiences are not static, they
evolve over time, requiring adaptability and ongoing refinement of communication strategies. Furthermore,
the presence of fake audiences serves as a poignant reminder of the complex and ever-evolving
landscape, which underscores the critical importance of authenticity and integrity in our digital endeavors.
Therefore, it is imperative that we remain adaptable, continuously updating and refining our
communication strategies to accommodate the changing needs. In the upcoming module, we will explore
strategies and effective methods to influence and engage with audiences, taking into account the active
role of audiences in the digital age, their dynamic nature and the importance of community building. Thank
you.

day, we will look into the persuasive aspects of communication. Persuasive communication relies on
understanding our audience, tailoring our messages to meet their specific requirements and preferences
and skillfully presenting information in a compelling and convincing manner. Persuasion involves
attempting to influence someone's actions, opinions or decisions. It becomes important in the workplace
when we have to use persuasive communication to gain support from colleagues for our ideas, seek
funding or to attract clients and sell something to the customers. Persuasion can be of two types, explicit
and implicit. Explicit persuasion refers to a direct attempt to influence somebody's beliefs, attitudes or
actions by presenting argument, evidence or even going to the extent of incorporating some emotional
appeals in our communication. This is about making a clear, direct and overt case for a particular point of
view or the desired outcome. On the other hand, implicit persuasion is based on implicit cues, subtle
messaging, storytelling indirectly creating an environment that gradually nudges the individual towards a
desired outcome. It involves gradually shaping the perceptions, attitudes and behaviors without employing
any direct methods for this purpose. It is essential to note that persuasion does not imply manipulation or
coercion. Ethical aspects of persuasion respect autonomy and free will of individuals allowing them to
make informed choices based on correct information and arguments which are presented to them.
Explicit persuasion involves making a clear and straightforward argument when for example, presenting to
the upper management your idea to gain approval for a new project or a proposal or seeking an additional
budget allocation. In contrast, subliminal advertising uses hidden or subtle messages like quick flashes or
subtle cues in advertisements or promotional materials to impact the consumer's subconscious mind and
evoke specific emotions or desires in the audience. The claims can be about what the facts are, about
what the facts mean to us or to the other or claims about what should be done. The claims are statements
that assert or declare a particular proposition, belief or point of view. They are the central arguments or
the main points somebody uses in order to prove or support a particular perspective. They can be made
in various contexts as a part of discussion or debate, as a part of writing, as a part of persuasive
strategies through different types of advertisements, etc. In persuasive communication, which is also a
particular type of argumentative writing, claims serve as the main points that are supported by evidence,
reasoning and appeals to persuade the audience to accept the validity of the claim which is being
presented to them. Even when a fact seems obvious, people can have different interpretations of its
meaning or may vary in opinion about what actions should be taken based on the available information.
When composing arguments and claims, it is essential to have a clear understanding of the desired
outcome substantiated by well-crafted supporting evidence. Arguments can exhibit diverse degree of
audience engagement. Let us explore various objectives or levels of audience involvement within
arguments. Certain specific goals are listed on this slide. They are influencing the opinion of the people
and enlisting support for our own ideas. Certain arguments aim to change the thinking of the readers or
the audience and want to persuade them to agree with a specific perspective or point of view. This type of
persuasion requires minimal involvement from the audience beyond a shift in their thinking. On the other
hand, when we try to enlist the support, we find that these arguments should aim to get readers actively
involved and should create a willingness to help for the purpose. Influencing opinion may be the first step
in enlisting support as changing people's perspectives often precedes their active involvement in any
issue. While influencing opinion focuses on changing thoughts or beliefs, enlisting support seeks to
galvanize individuals into taking concrete actions. The choice between these goals depends on the
desired outcome and the level of engagement and commitment required. When we are talking in the
context of submitting a proposal, the focus is on presenting a plan or a solution to a problem with a
specific course of action to address an issue or achieve a desired outcome. These arguments typically
require audiences to act directly or approve a particular action. When the goal is to influence the behavior
of the audience to change it to a certain manner, to align with the desired outcome or to improve a
situation by asking them to change their actions, beliefs and ways of doing things, then it also requires a
more personal approach as individuals may resist changing their established behaviors. It is worth noting
that persuading individuals to change their behaviors can be a more intimate and therefore a potentially
challenging endeavor as people often resist changing their established routines. And therefore, in
effective persuasion, we must employ strategies that resonate personally and encourage positive
adjustments. We also must be careful of the fact that individual responses vary based on factors such as
personal beliefs, value systems, their prior knowledge about the topic and also the emotional state they
might be in at a given moment of time. And therefore, predicting the reaction of the audience remains to
be a complex task. To effectively anticipate potential reactions, it is necessary to gather information about
your audience and the organization you are addressing. This includes understanding if your supervisor or
manager will support you and if there are support systems in place within the organization which would do
a backup of your efforts. Conducting pilot testing or a small scale communication trials with a subset of
your intended audience also allows you to assess the reactions and refine them before reaching a larger
group of audience. Seeking feedback from a representative sample of the audience or individuals who are
familiar with their characteristics and preferences can also help us in understanding the likely reactions
and it also allows us to make necessary adjustments to the message. Individuals who have not yet formed
a firm opinion or decision are more likely to be receptive to persuasive influence. People normally seek
the opinions of other people, seek experiences of others and evidence to help them to make up their mind
about any issue. However, once people have made up their minds, they tend to assume that they are right
and often therefore resist changing their views even when presented with solid evidence to the contrary.
In digital communication, we should also be sensitive to the audience resistance. Audience resistance
refers to the reluctance or opposition that individuals of groups may exhibit towards accepting or
embracing a particular message, idea or argument. What is known as confirmation bias or cognitive
dissonance suggests that there is a tendency amongst individuals to seek, interpret and favour
information that confirms their pre-existing beliefs, values and expectations. At the same time, because of
these biases, there is a disregard or a tendency to downplay contradictory evidence justifying or
rationalising their negative choices. It is a cognitive bias that can influence decision making and the
processing of information at the level of the audience. Engaging in constructive dialogue and seeking out
multiple sources of information can help us in mitigating the effects of the confirmation bias. Persuading
individuals to consider alternative perspectives requires getting them to admit that they might be wrong
and it can be challenging. However, by acknowledging and addressing audience resistance,
communicators can increase the chances of successfully persuading and engaging their audience. It can
manifest in various forms such as scepticism, disagreement or a simple lack of interest. It would be
pertinent at this point to refer to the social influence theory propounded by Herbert Kelman in his 1958
work. He has suggested three processes of influence namely compliance, identification and
internalisation. They can be further described through a function that involves three determinants that is
the relative importance of the anticipated effect, secondly the relative power of the influencing agent and
thirdly the prepotency of the induced response. However, these determinants differ qualitatively for each
process giving rise to distinct antecedent conditions. Furthermore, each process results in a unique set of
consequent conditions. Let us explore these three social influence processes more comprehensively.
Compliance refers to accepting the influence and adopting a particular behaviour to gain rewards or
approvals while avoiding punishments or disapprovals. It occurs when individuals go along with an appeal
or request because they like and believe the person's appealing, want to be liked by them and feel a
sense of commonality or connection. The satisfaction derived from compliance stems from the social
impact of accepting influence and maintaining positive social relationships. For example, this is the
attitude which is showcased in the sentence, I am yielding to your demand to get a reward or to avoid
punishment. I do not accept it, but I feel pressured. So, I will go along to get along. Compliance does not
necessarily indicate a genuine change in one's attitudes or beliefs. It is primarily only a behavioural
response which is influenced by external factors. Still, compliance can be a powerful form of influence,
particularly in social settings and hierarchical structures where individuals may feel obligated or pressured
to confirm. Understanding the factors that drive compliance can help individuals and organizations
effectively utilize persuasive techniques, manage social dynamics and achieve desired outcomes.
Identification as a process of influence occurs when individuals adopt a particular behaviour to establish
or maintain a desired and beneficial relationship with other person or group. Individuals experience a
sense of alignment and connection with the influencing agent or group which contributes to positive social
relationships and a sense of belonging. Individuals seek to create or strengthen a bond with others by
adopting the induced behaviour and they want to gain acceptance and validation within the desired social
context. For example, I am going along with your appeal because I like and believe you, I want you to like
me and I feel we have something in common. The act of confirming itself is seen as satisfying and
valuable as it helps individuals establish or reinforce a sense of connection and belonging. In this process,
the emphasis is not solely on rewards or punishments as in compliance, but on the desire to create or
maintain a positive relationship with the influencing agent or group. As a process of influence,
internalization occurs when individuals accept and adopt a particular behaviour after perceiving it as
rewarding and congruent with their own value system. It is characterized by a deeper level of acceptance
and integration of the induced behaviour into one's own identity and self-concept. It represents a lasting
and meaningful change in attitudes and behaviours as individuals see the induced behaviour as
intrinsically rewarding and aligned with the core values. For example, I am yielding because what you are
suggesting makes good sense and it fits my goals and values. The acceptance of the induced behaviour
is not solely driven by external rewards or social pressures, but rather by a genuine recognition that the
behaviour is in line with their own value system. Here, we can look at certain examples of different types
of social influence. For example, compliance may lead to dressing formally to adopt our clothing choices
to suit professional norms. Identification may result in laughing at jokes even if you do not understand
since the rest of the group is also laughing. Internalization may result into buying the similar type of things
for example, like a sneaker brand because it is popular among your peers and you want to internalize
their behaviour. Persuasive individuals process the ability to recognize and employ different strategies
based on the situation. They understand when to straightforwardly state their desires, when to build
relationships, when to appeal to reason and common sense for that matter or when to use a combination
of these approaches. This discussion brings us to look at the connection theory. The strategy involves
asserting one's desires or objectives directly and assertively. The power connection emphasizes clear
communication and directness in expressing one's intentions. In such a relationship or interaction, one
party holds a position of authority, control and influence and dominance over the other party. The
communicators may utilize their power, expertise or credibility or being in a power position in order to
persuade others to align with their viewpoint or to take a specific course of action. While the power
connection approach can be effective in certain situations, it is important to use it ethically and with a
sense of complete responsibility. It is crucial to ensure that the autonomy and individual perspectives are
respected. For instance, supervisors, managers and executives often use their positions of authority to
make decisions that affect the entire team, office or department. This can include decisions related to
workflow processes, resource allocation and strategic direction. However, building trust and maintaining
positive relationships with co-workers is crucial when applying the power connection approach in the
workplace. Another aspect of it is known as relationship connection. Building relationships and
establishing rapport and friendship with others is key to this strategy which prioritizes aligning their interest
with others to gain support and cooperation. Through this approach, the communicator encourages the
audience to actively participate in the conversation, share their perspectives and contribute their thoughts
and experiences. The communicator may pose questions, provide opportunities for feedback or
discussion or create a collaborative environment where the audience feels comfortable expressing their
opinions. Crucially, the relationship connection approach respects the autonomy of the readers, the
reader or the audience by allowing them to make their own choices and decisions. Instead of imposing a
specific point of view or demanding unquestioning compliance, the communicator recognizes the
audience as independent thinkers capable of forming their own conclusions. On social media platforms,
individuals and brands use relationship building strategies to connect with their followers. They respond to
comments and messages, engage in conversations and show genuine interest in the opinions of their
audience. Even in automated customer support interactions, chatbots can employ relationship building
tactics like empathetic language, offering solutions and providing helpful information. On the other hand,
the rational connection approach often involves presenting credible and authoritative evidence to support
the arguments or claims. Some methods employed in such connection include consequence analysis and
Socratic questioning method. Consequence analysis occurs when communicators may outline potential
outcomes of choices aiding audience understanding. Socratic questioning prompts critical thinking,
encouraging self-discovery for deeper understanding. It provides alternatives as a strategic approach
whereby the communicator demonstrates flexibility and promotes a sense of choice and autonomy for the
readers. Offering a compromise can be an effective middle ground where the communicator
acknowledges the audience's concerns and is willing to work towards a resolution that satisfies multiple
parties. Incentives can also be used as persuasive tools to motivate readers to take a desired action or
adopt a particular perspective. These three strategies of connection can be employed individually or in
combination depending on the context and the audience. Effective persuaders have the skill to adapt
their approach and choose the most appropriate strategy or a combination of them to achieve their
persuasive goals. But in the context of professional communication, digital and offline communication
also, we find that there are certain constraints on our persuasive strategies. The organizational
constraints refer to the rules and regulations of the company, the guidelines and procedures established
by the company. It is crucial to adhere to these stated as well as unstated constraints to maintain positive
work relationships and avoid potential conflicts. Understanding various communication channels, efficacy
of appropriate timing and an understanding about the key people who might be involved is essential in
overcoming organizational constraints. Ethical constraints go beyond organizational constraints or legal
requirements. They involve honesty, a sense of fairness and considerations for ethical behavior. Adhering
to ethical constraints promotes personal and professional growth as it requires individuals to reflect on
their values, examine their own belief system and make choices in line with their moral principles. These
constraints are necessary to promote treatment, a respect for human rights and avoidance of
discrimination or biases against people. Organizational constraints provide structure, compliance,
efficiency and they also promote collaboration. Adhering to these constraints improves efficiency and goal
achievement whereas ethical constraints establish responsible behavior guiding choices that aligned with
values and benefit society fostering a long term success. Time constraints refer to the deadlines,
limitations or pressures which the available time imposes while engaging in persuasive communication.
The timing of persuasive communication can also significantly impact the effectiveness. Strategies such
as concise and targeted messaging providing key information upfront and allowing for follow up
interactions can help overcome time related constraints. Social and psychological constraints refer to the
factors related to social dynamics and individual psychology that can influence how communication is
received and interpreted. A well structured argument is a carefully organized and coherent presentation of
ideas or claims aimed at persuading others. It follows a logical and effective structure to effectively
convey the messages and convince the audience. Now that we have examined the various constraints and
elements of persuasion, let us also explore the methods for crafting a well structured argument. One of the
tested methods is sharing an argument. Appealing and identifying common goals and values is essential
in persuasive communication as it helps create a consensus and understanding. Cultural several
differences in styles, tolerance for debate, tolerance for different tones, relationship building and the
importance of evidence and logic as well as the value of disagreement should be considered. Convincing
evidence is crucial in making arguments more convincing and credible. Your arguments must be strong,
specific, novel, unique and above all very favorable and they should directly relate to the arguments
specific point. Up to date information is also vital for its relevance whereas reproducibility enhances
validity and reliability. I Have a Dream by Martin Luther King Jr. is a highly influential and powerful speech
known for its effective persuasive techniques. Key features of this speech include the use of rhetoric to
captivate the audience, appeals to shared values, emotional resonance, credibility, authority, inclusive
language, vision and above all hope and a strong call to action. These elements combine to create a
persuasive argument that inspired millions of people to join the civil rights movement and drive significant
social change in contemporary society. When we talk of different types of evidences, they may be in the
form of facts and they may also be in the form of statistical data. Factual evidence refers to concrete and
very favorable information that supports our argument and claim. By being selective, one can choose the
most relevant and compelling facts ensuring that the argument is solid, persuasive and also
argumentative. When presenting factual evidence, it is important to ensure the accuracy and relevance of
the facts. The inclusion of statistical data is an important aspect in persuasion as it provides numerical
evidence that can be highly convincing to the readers. When using statistics, it is important to focus on
key figures such as cost saving, losses and profits as these are often the bottom line concerns for many
individuals. This statistics should also be presented in a visual manner whenever it is possible for us to
do. Properly citing and referring credible sources such as academic journals, books or reputable websites
can provide factual evidence. Quoting or paraphrasing information from these sources adds credibility and
demonstrates that the information is supported by reliable research or expertise. Statistical data allows for
comparisons and benchmarking across different groups, regions or time periods etcetera. It helps us in
analyzing a common framework for evaluating performance, measuring progress and also for identifying
disparities and differences. These comparisons can highlight best practices, areas of success and areas
that need attention or improvement. Expert testimony also holds significant weight in persuasion as it
adds authority and credibility to a claim. Particularly when it is seen that the expert opinion is unbiased
and the expert is recognized by people for one's unbiased approach, it can enhance the persuasiveness
of an argument. However, it is important to note that in contentious cases opposing sides may present
their own experts and to determine the credibility of an expert factors such as recognition by the highest
level of professional society, degrees from reputable educational institutions, once professional
background etcetera are considered as important. Experts often have their work and opinions subjected to
rigorous peer review and validation processes within their respected fields. This ensures that their
expertise is reliable and based on established principles, methodologies and research. Moreover, experts
are skilled at communicating complex ideas in a way that is accessible and understandable to a broader
audience. Digital persuasion encompasses various modes and techniques to influence or convince the
audience in an online way. Search engine optimizing digital content for search engines to increase
visibility and reach. Appearing in top search results can persuade users to click on a website or a
webpage. Displaying social proof elements such as customer reviews, ratings, testimonials or user
generated content to persuade visitors that others have had positive experiences earlier. Incorporating
game like elements, rewards and challenges into digital experience to engage users also motivates them
to have a better trust. Conducting experiments on digital assets such as websites and landing pages to
identify the most persuasive variations and optimize for conversions is also a useful technique. These
modes of digital persuasion are often used in combination to create comprehensive digital marketing and
communication strategies. They are used to effectively influence and engage online audience. The choice
of mode depends on the specific goals, target audience and context. The following video provides
additional insights into various facets of digital persuasion including web analytics, social listening,
influence and sharing analysis. Web analytics is the measurement, collection, analysis and reporting of
web data to understand and optimize web usage. It is information about the number of visitors to a
website and the number of page views. And it gauge traffic and popularity trends. Another tool is social
listening. Social listening is the process of understanding the online conversation about a company or
brand as well as its products and services. Social listening tools can help companies gather and analyze
customer data from a variety of social media and online review platforms in order to use the data to
improve marketing, operational and business metrics. Social listening will also help you to identify
influencers in your industry. Why are these important? 1. Most consumers rely on social media to guide
their decisions to move forward with the purchase of a product or service. 2. Consumers are more likely to
trust peer reviews rather than advertisements. Influence Analysis. Digital influence is the ability to create
an effect, change opinions and behaviors and drive measurable outcomes online. Things to remember.
Don't measure influence. Measure the outcomes. This obviously requires you know your goals and realize
what word of mouth means for your business. Reach is a measure of potential impact, not a goal as
such. Relevance is key, always, in fact, it's the glue of relationships on the social web and thus of word of
mouth and influence. Define metrics and KPIs in alignment with your goals. Examples, sales or referrals,
brand lift, make sure you know the impact of brand awareness on your business as well if you want to
measure all the way. Develop a plan of action with the following three key components, 1. Objectives, 2.
Steps, and 3. Elements that require definition. Another tool is sharing analysis. Sharing analysis are tools
specifically dedicated to tracking share activity of content across digital platforms. Unlike advertisements or
other marketing assets, social shares is an organic form of promotion generated by the public. Consumers
share products, blog posts and inspirational images because they want to. When social connections,
including friends, family and co-workers, see shared content, it resonates more than a message displayed
directly by a business. In conclusion, it can be said that persuading an audience requires a thoughtful and
strategic approach that considers the audience's needs, values and preferences. Effective persuasion
involves clear communication, credible evidence and the use of various persuasive techniques and
modes. Building trust and rapport, providing relevant and compelling content and fostering a sense of
connection are essential elements in influencing an audience's attitude, behaviour and decisions.
Ultimately, successful persuasion hinges on understanding the audience, tailoring the message and
creating a compelling narrative that resonates with their interests and motivations.

Today we shall discuss the dynamics of teamwork in digital environments, emphasizing the importance of
cultural sensitivity and global awareness in fostering collaboration and in delivering clear and impactful
technical content to a diverse as well as a worldwide audience. Collaboration plays a fundamental and
essential role in teamwork. It refers to the collective effort of individuals working together towards a
common goal or objective. For instance, instruction manuals, which cover various products, involve inputs
from a diverse team consisting of technical writers like engineers, graphic artists, subject matter experts,
reviewers and lawyers, etc. Effective Collaboration also distributes responsibilities and harnesses diverse
skills efficiently. It also relieves individuals of excessive burdens and decision-making by a single person.
It also promotes diverse backgrounds and skills, fostering innovation. These types of team works also
reveal the blind spots and offer alternative and more creative approaches. Collaboration also allows
teams to optimize resource utilization. By coordinating efforts, they can allocate resources efficiently,
minimize the waste and maximize the productivity also. The upcoming video illustrates these aspects
effectively. It provides a thorough understanding of the individual and combined meanings of teamwork
and collaboration. Hello, I would like to talk with you about the two expressions teamwork on the one hand
and collaboration on the other hand. So we might think that teamwork is just a, let's say, more fashionable
expression for collaboration and that they both mean the same. But actually that is not the case. So if we
distinguish teamwork from collaboration, that means that in a teamwork environment, we have to have a
team leader. And in the collaboration environment, people also work together in a team, but they do not
have a team leader. Nevertheless, both teamwork and collaboration require leadership. But the leadership
that is done in the teamwork by one person, the team leader, has to be done on the collaboration setting
by the team members themselves. So these people have to have the, let's say, personal maturity. They
have to be able to accept that there might be one first among equals. And they have to be able to
recognize conflicts, to deal with conflicts, to do controlling and everything, all this without having really a
team leader. In the teamwork environment, that team leader has to be, of course, somebody who has the
personality and let's say the attitude of leadership on the one hand and also the qualification or the
abilities, the knowledge to lead, so that people have to know how to lead. Very often that is already one
challenge. So in a lot of teams, we have somebody who is, let's say, defined to be the team leader, but
that person doesn't have the attitude nor the qualification, or at least one of these two is missing. And so if
you want to have people working together in a team, you have to decide, do you want to have teamwork?
But that requires a team leader. Who is that team leader? Is it you? Is it somebody else? Does that
person have the skills? And if you decide for the collaboration environment, then please make sure that
you have those people having the personal maturity, having the ability to recognize and deal with
conflicts. Collaborative teams routinely evaluate processes and performance to boost effectiveness. And
therefore, they can excel in continuous improvement, feedback systems and knowledge sharing.
Additionally, collaborative teams display adaptability in responding to changing priorities or work related
challenges. In any collaborative project, one has to begin by appointing a group manager. The manager is
able to assign the task and force the deadlines, also conducts meetings, etc. and may communicate in an
upward and downward manner efficiently. Secondly, we have to think of who the audience are going to be
and also compose a purpose statement that would clarify the goal to the team members. We should also
be able to decide on the type of document which is required, particularly about the format, the
supplementary material which is required, the objectives and how to align them with different subsections
of the audience. And accordingly, we have to think of task division. We should also establish a timetable
and adhere to it. Preparation of Gantt chart and PERT charts help the team in visualization the whole
project as well as each part independently. In a collaborative project, the manager plays a pivotal role in
coordinating and integrating the efforts of team members. Besides, goal-oriented projects are essential
for providing focus, direction and motivation, increasing the chances of the success of the project. Certain
other details we have to focus on is to prepare a meeting schedule and establish the procedure for
responding to the work of other members. We should also decide on the most suitable digital writing apps
with which every team member is comfortable. For example, are we going to use Evernote, MSOneNote,
etc. or any other one. We should also develop a file naming system so that no one accidentally saves a
previous version and loses the most recent file. It is essential therefore to establish a convention before
we begin collecting files or data in order to prevent a backlog of unorganized content that will lead to
misplaced data. We should also be able to identify metadata and abbreviate it also preferably using a
version number. We should also establish procedures for dealing with interpersonal problems and a group
decision making style. According to Rowe and Boulgaride s decision style theory or DST. Decision making
styles work along two different axes. The first is cognitive complexity and the other is value orientation.
Cognitive complexity refers to the decision maker's tolerance for ambiguity and value orientation refers to
the priorities of the decision maker. Combining these two creates four decision making styles, directive
decision makers, analytic decision makers, behavioral decision makers and conceptual decision makers.
The visual on the right hand side illustrates these points briefly. Cognitive complexity suggests that people
with a lower tolerance tend to decide by considering a few clearly defined options. While those who have
a better tolerance for ambiguity are likely to explore novel and less defined options. Value orientation
suggests that people who value technical outcomes or task based outcomes tend to decide by
considering which options will lead to the best measurable results. On the other hand, those who prefer
social outcomes like group harmony are more likely to ask stakeholders what they think and focus on
guiding the group towards consensus. Directive decision makers have a low tolerance for ambiguity and a
technical value orientation. Analytic decision makers have a high tolerance for ambiguity and a technical
value orientation. Behavioural decision makers have a low tolerance for ambiguity and a social value
orientation. Whereas conceptual decision makers have a high tolerance for ambiguity and a social value
orientation. While working in a team, particularly working in a team which is placed in remote places, we
should also decide in advance how to evaluate each member's contribution and encourage members to
keep a journal of personal observations for the overall evaluation of the project. Digital journals help to
declutter and through them we can also upload images in a more convenient manner and they can also
be approached by other members easily. We should also prepare a project management plan. Processes
to manage projects in digital spaces are important and while the domain of the project might be different
than traditional project management such as construction, the goals and objectives remain the same. This
document has to be kept in a shared space and it should be updated if only all the team members agree
to it. Thus we can say that collaboration is a cornerstone of effective teamwork. It promotes synergy,
innovation and efficient problem solving. Meetings are typically scheduled for two primary purposes,
exchanging information and making decisions. Informational meetings generally run smoothly since there
is less potential for disagreement and we have to accept that despite the wide array of digital collaboration
tools which are available to us today, our face to face physical meetings still continue to be vital because
of the valuable interpersonal connection they do offer. Furthermore, meetings that involve a mix of in
person and virtual participation can pose different types of challenges. We have to ensure that remote
participants are given an equal representation and their voice is heard with equal significance and they
are kept to be fully engaged continually. We should also try to create etiquette and logistics for hybrid
meetings which is essential to ensure effective communication in some situations where the time zone
differences also exist. The team leader must ensure that the agenda is circulated well in advance and that
the discussion adheres to it strictly. One should also ensure that all participants, whether physically
present or joining remotely, have equal opportunities to contribute and their contribution is equally
acknowledged. In the context of decision making, we find that organizations are increasingly using data
analytics and business intelligence tools to make evidence based and informed decisions. Digital tools
enable decentralized decision making within organizations and they promote faster responses. AI and
automation also enhance decision making by processing large data sets, identifying patterns and
suggesting optimal actions with particular relevance to areas such as customer support, supply chain
management and financial analysis. Agile methodologies in the digital world stress iterative and adaptive
decision making with teams frequently evaluating priorities and adapting strategies in changing and
challenging circumstances. Digital environments encourage transparency and enhance accountability.
They also facilitate global collaboration among culturally diverse team members. Decisionmakers must
also consider aspects of cybersecurity, updating technological know-how of the participants and ethical
implications in order to navigate the uncertainty prevalent in digital work environments. Recording of
minutes after every meeting is also important. Digital meeting minutes are searchable and taggable and
they simplify the retrieval of information and also improve the organization through keyword
categorization. Digital minutes can also incorporate multimedia elements like hyperlinks, attachments and
embedded files which enrich the content with additional context or resources at a later stage. Advanced
digital tools may provide analytics and insights on meeting effectiveness including participation metrics,
action item tracking and sentiment analysis. Storing the minutes in the cloud also ensures easy universal
access for updated information from different locations and devices. Digital tools also enable real-time
collaboration on meeting minutes allowing multiple participants to edit and comment simultaneously
enhancing accuracy and efficiency. These tools often integrate with calendars for automatic scheduling,
version control for tracking changes and security features like encryption and access controls. Some tools
also offer automation to extract meeting information from recordings or transcripts while distribution via
email or collaboration platforms and mobile accessibility further improve flexibility and they also reduce
the paper usage. Encouraging creative thinking is also crucial for collaborative team projects. It
encourages innovative ideas and helps in reaching more effective decisions. Creativity challenges a strict
adherence to a top-down project plan. It enables to find innovative solutions to digital communication
challenges such as designing better user-friendly interfaces, creating more effective marketing campaigns
or optimizing website user experiences. Similarly the use of creative visuals, storytelling and multimedia
elements can help in conveying messages more effectively. In a crowded digital space creativity sets
brands and content apart making them more distinctive and recognizable by the potential customers.
Creative content also forges emotional connections with the audience fostering engagement and deeper
relationships. Brainstorming is another tested way. Within the framework of digital technologies it is
conducted using the remote team collaboration effectively. We have to choose digital collaboration tools
that support brainstorming such as virtual whiteboards, Miro or Mural or video conferencing platforms like
Zoom or Microsoft Teams. Video conferencing platforms like Google Hangouts facilitate virtual meetings,
document uploading and real-time editing. Shared documents such as those available through Google
Drive enable simultaneous contribution and real-time discussion of ideas via a chat window which allows
participants to engage in ongoing conversations. Brainstorming fosters divergent thinking by encouraging
unconventional ideas without a judgmental attitude. Additionally features like track changes in word
processing programs enable a back and forth brainstorming process. Mind mapping is a structured
technique used to help individuals visualize complex information, relationships and ideas. By using visual
cues and associations, mind mapping helps people better understand, remember and communicate
information, making it a valuable tool for various tasks from project management to creative thinking.
Popular mind mapping software includes MindMeister, Xmind, Cogel and MindManager among others.
Users can incorporate multimedia elements such as images, icons, links and attachments into their mind
maps to enhance understanding and creativity. Some software offers pre-designed templates for various
purposes like project planning, brainstorming, etc. Certain softwares also provide tools for root cause
analysis, aiding in problem solving. Mind mapping fosters radiant thinking by allowing ideas to branch
outward from a central node and it promotes a non-linear and associative thinking. Its hierarchical
structure accommodates organization of complex information. It actively engages both brain hemispheres,
enhancing creativity and holistic thinking. Another concept we shall discuss now is storyboarding.
Storyboarding visually represents project structures by jotting down ideas and sketches on index cards
which are then displayed by collaborative feedback, additions, deletions and refinements. Storyboarding is
a fundamental technique in storytelling whether for films, animations, marketing campaigns or user
experience design and it helps in creating engaging narratives. Presentation software like PowerPoint or
Google Slides and video and movie software such as Apple's iMovie can also be used to create a
storyboard arrangement of images and ideas in a linear sequence. Storyboards organize visual
sequentially making them ideal for illustrating timelines, processes and narratives. Some online tools offer
automation features such as automatic alignment and arrangement of elements, saving time during the
creation process. Handwriting to typing conversion tools are also available. Online software can
accommodate growing project needs and team sizes by providing scalable solutions. Storyboards also
facilitate feedback and revisions in the planning phase. Once finalized, storyboards also serve as
production blueprints. Documents which are produced in a collaborative manner should also undergo a
thorough review and extensive editing. Reviewing involves assessing a document with regard to its
intended audience, purpose and technical accuracy. A reviewer provides feedback to the individual writer
or to the team and may suggest improvements which are required. Checklists throughout the text offer
specific criteria for reviewing different types of documents to streamline the content from the audience
perspective. A reviewer must prioritize accuracy and a reader friendly structure. Additionally, effective use
of visuals and page design can also enhance the impact of the document and it can also be suggested
during the process of review and editing. We should also check citations if needed for proper formatting
and ensure hyperlinks leads to the intended destinations. And of course, we should remember the
deadlines. Editing tasks also involve the writing aspects of the document. They involve rephrasing,
restructuring of the sentences, providing clarity to topic and sentences, selecting a better or more suitable
vocabulary and expressions and rectifying spelling errors, consistency of the usage, punctuation and
other writing mechanics also. The design of the page as well as the similarity of the font size, mentioning
of the abbreviations, etc., mentioning of the weights, etc. is also to be ensured during the review process.
Tracking versions, managing revisions and coordinating feedback from multiple reviewers in a digital
environment is definitely complex. It may also result into confusion and conflicting suggestions and
therefore, even at this level, the coordination is a must. Technical glitches and compatibility issues with
software or file formats can also disrupt editing. Maintaining consistency in lengthy or complex
documents, preventing miscommunication among reviewers and mitigating distractions in digital
environments can also be challenging and can impact the quality of edits. At the same time, protecting the
integrity and security of the document while sharing it online is also crucial to prevent unauthorized
access or the possibility of any alterations in it. In digital technical communication, where information is
often disseminated electronically, these editing and review processes become even more critical to
maintain the integrity and quality of the content. Another aspect which we have to be aware of is that in
collaborative online groups, conflicts may arise due to variations in personality, working styles,
commitment levels, standards and the ability to handle criticism. These agreements may also occur owing
to one's perception of the group's goal, task allocation or the final authority regarding decision making,
etc. Some individuals struggle habitually to express their opinions, whereas some are more dominating.
Lack of personal contact in online digital communication may also hinder the development of trust
amongst the coworkers. In the previous module, we had looked at the dynamics of workplace
communication and potential conflicts that can emerge within groups. We had also examined concepts
such as groupthink and social loafing. Nevertheless, it is crucial to acknowledge that in the global
workplace, broader factors like gender and cultural diversity also assume significance. Conscious or
unconscious gender biases in digital communication can affect the reception of the message, decision
making and may potentially lead to less credibility for ideas or suggestions presented by people belonging
to different genders. Gender-based criticism or harassment, including sexist comments or jokes, can
cause discomfort and distress among team members and escalate conflicts further. Both men and
women may prefer an indirect management style, yet female managers often face more challenges to
their authority. Discussions related to compensation or promotions which can occur in digital channels
may reveal gender disparity and lead to conflicts over fairness and equality. If gender sensitivity training is
not adequately implemented or if team members themselves are resistant to addressing gender-related
issues, conflicts may arise and further escalate. Imbalances in digital discussions with men often
dominating and women experiencing more interruptions may disrupt communication and give rise to
conflicts. Additionally, gender disparities in remote work conditions, including resource access and
flexibility can trigger conflicts centered on work-life balance and fairness concerns. In our era of
bilingualism and multiculturalism, we find that linguistic and cultural differences can also lead to certain
difficulties. Digital communication diverges from traditional modes of communication in its relinquishment
of top-down control, informal use of cross-language interaction and widespread adoption of diverse,
semiotaken stylistic modes, genres and resources such as images, music, sound and visual effects.
Language disparities can also impede effective communication, particularly when team members possess
varying levels of English proficiency or speak different versions of the English language. Digital
communication is an immensely shared space. It is full of complexities in linguistic and communicative
practices which evolve without involving direct physical coexistence. It is a coexistence in a shared
cybernetic third space formulated by unknown hierarchies and unknown number of contributors and
unknown identities. I would cite a 2021 research published in Harvard Business Review by byVasyl Taras,
Dan Baack, Dan Caprar, Alfredo Jim nez and Fabian Froese. The title of the research is how cultural
difference can impact global teams. The researchers mentioned two broad categories of differences in
global teams, personal diversity and contextual diversity. Language is a personal diversity like age,
gender, etc. Contextual are the different levels of economic development and different types of
institutions, political systems of different countries, etc. Connotative aspects of language become
important in digital mediums. If some team members are unequally fluent in the team's working language,
they tend to find it less enjoyable to spend time together and therefore trust each other less. As a result,
they experience less cohesion and have more conflicts and misunderstandings. On the other hand,
contextual diversity can positively affect task performance. When the team members come from different
institutions, economic and political systems, they understand a wider range of contexts, have access to
more diverse pools of knowledge and experiences. And as a result, contextual diversity allows for more
views and different perspectives. It aids creativity, decision making and problem solving. Contextual
diversity appears to be particularly beneficial when teams work on challenging tasks that require creative
and unconventional approaches. Conflicts can also arise from clashes in cultural perspectives,
misinterpretation of cues and communication styles, stereotypes affecting perceptions differently and
insensitive comments disregarding cultural customs of the other people. Varied cultural norms regarding
hierarchy, decision making and conflict resolution can lead to clashes in team dynamics and difficulties in
reaching consensus. Conflicts also arise when there are different perspectives on ethical issues or
business practices potentially leading to ethical dilemmas to some members of the group. Political
tensions or differences between countries can also spill over into workplace relationships and can
aggravate conflicts. Differences in expectations regarding work-life balance where certain cultures
emphasize extended work hours and others emphasize personal time may result in conflicts surrounding
availability and work related obligations. Conflicts can also arise from diverse cultural perspectives
regarding our perceptions of punctuality and deadlines. Our cultural coding regarding disability also may
create differences in clashes. In some cultures we find that it would be difficult for people with disability to
participate fully in digital discussions or access information. Insufficient accommodations such as closed
captioning for videos or screen readers for text content can exclude individuals with disabilities from
engaging in digital communication in an effective manner. Conflicts may also arise regarding resources
allocation for disability accommodations with some team members advocating for more support while
others may resist additional costs or efforts. Organizations may face conflicts related to legal requirements
for disability accommodations in digital communication especially if they fail to meet legal obligations of a
certain country. Common issues may include disabilities like speech or hearing impairments and
unintentional biases against them. It is also being found after research that in the digital realm conflicts
can escalate quickly due to the fast-paced nature of communication through social media and mails etc.
The perceived safety and relative anonymity of digital communication can lead individuals to overlook the
potential impact their messages can have on different readers and therefore can spoil the overall
effectiveness of the team. If the team is primarily using only the written mode through different digital tools,
the absence of non-verbal cues such as tone of voice and body language can make it challenging to
gauge the emotional nuances during a conversation. Ethical concerns also surface due to conflicting
messages in lean corporate environments which emphasize teamwork yet may reward individual
achievements, potentially leading to unethical behavior like peer intimidation, mimicry and the use of
bullying language. Etiquette Expert Ann Marie Sabath offers a valuable approach to address animosity
within teams and workplaces. Her recommendation involves fostering a deeper understanding of the root
cause behind aggressive behavior. Instead of engaging in a heated confrontation in the heat of the
moment, it may be more effective to suggest setting aside time for a calmer and more focused
conversation. This approach allows all parties to express their concerns in a relatively calm manner. The
team leaders and also all the participants of the team should work towards mitigating the conflicts. To
address personal differences effectively, it is crucial to encourage open expression of thoughts and
feelings, handle disagreements in a constructive manner by offering and accepting criticism and seeking
common ground with different views while avoiding a blaming attitude. Active listening which involves
engaged participation rather than passive reception is essential for building positive relationships and
gaining knowledge. Certain time-tested techniques like seeking clarification and summarizing the
speakers key points are also equally helpful in the digital communication context. Addressing conflicts
related to cultural, gender and disability differences on a global scale requires a holistic and proactive
approach. By promoting understanding, respect and inclusivity, organizations can create a harmonious
and productive work environment where diversity is celebrated and conflicts are minimized. Organizations
therefore promote the use of gender neutral language. They should also promote different approaches
and trainings in promoting diversity and inclusion through different policies and initiatives. Proper training
in the areas of gender sensitivity, we would be able to remove unconscious biases leading to a respectful
communication. We should establish reporting mechanisms not only for gender related issues but also for
any other type of difficulty. We should also ensure prompt and fair resolution and create feedback
mechanisms for addressing different types of cultural issues and misunderstandings. Organizations must
also promote mentorship and sponsorship programs to promote women's career advancement and
accommodate different gender priorities as well as cultural differences to promote inclusivity in their
culture. In the upcoming video, we will look at a theoretical approach to resolving conflicts. In 1974,
researchers Kenneth W. Thomas and Ralph Kilmann had conducted a study on workplace conflicts
identifying five core conflict resolution methods. These methods laid the foundations for the Thomas
Kilmann Conflict Model instrument which remains pertinent even now. The TKI defines five approaches to
resolving conflict. We will get to those in a minute. There are also two dimensions of the model,
assertiveness and cooperativeness. The TKI is designed to measure a person's behavior in conflict
situations. Conflict situations are those in which the concerns of two people appear to be incompatible. In
such situations, we can describe the individual's behavior along two dimensions, the continuums you see
here. First assertiveness, the extent to which the person attempts to satisfy his or her own concerns. And
second, cooperativeness, the extent to which the person attempts to satisfy the other person's concerns.
As I mentioned just a minute ago, there are five approaches that can be utilized to address workplace
conflict. Competing where the goal is to win, collaborating where we work together to find a mutually
beneficial solution, compromising where we find middle ground, avoiding where we hide from the conflict,
and accommodating where we surrender our needs to please the other. Each of these five approaches
are along both the assertiveness and cooperativeness continuums. The competing mode is at the top left
of the model which means an individual takes a wholly assertive and uncooperative approach to resolving
the conflict. It means standing up for your rights, defending the position in which you believe is correct, or
simply trying to beat the other side. An individual pursues his or her own concerns at the other person's
expense. This is a power-oriented mode in which you use whatever power seems appropriate to win your
own position. The collaborating mode is at the top right of the model which means an individual takes an
assertive yet cooperative approach. It means being willing to believe that at an impasse, it's possible for
both sides to come out with what they want. Collaborating requires mutual respect, a willingness to listen
to others, and creativity in finding solutions. Collaborating may take the form of exploring a disagreement
to learn from each other's insights or trying to find a creative solution to an interpersonal problem. The
compromising mode is at the center of the model because it's both assertive and cooperative but only to
some extent. Both sides get something but not everything. The objective is to find an expedient, mutually
acceptable solution that partially satisfies both parties. In some situations, compromising might mean
splitting the difference between two positions, exchanging concessions, or seeking a quick middle-ground
solution. The avoiding mode is at the bottom left of the model which means an individual takes an
unassertive and uncooperative approach to conflict and they just don't deal with it. Avoiding might take the
form of diplomatically sidestepping an issue, postponing an issue until a better time, or simply withdrawing
from a threatening situation. Thus he or she does not deal with the conflict. And finally, the
accommodating mode is at the bottom right of the model which means an individual takes a wholly
unassertive and cooperative approach. This might take the form of selfless generosity, giving in to another
person's orders when you would prefer not to or yielding to another person's point of view. When
accommodating, an individual neglects his or her own concerns to satisfy the concerns of the other
person. There is an element of self-sacrifice. Each of us is capable of using all five of these approaches or
modes. None of us can be characterized by having a single style when dealing with conflict. But certain
people use some modes or approaches better than others and therefore they tend to rely on those modes
more heavily. Your conflict behavior in the workplace is a result of both your personal predispositions and
the requirements of the situation you find yourself in. The TKI is designed to measure this mix of conflict
handling modes and help you, your team and your organization better resolve workplace conflict. There is
no one-size-fits-all approach to conflict resolution. Each method has its pros and cons depending on
factors like personalities involved, hierarchical positions, urgency of the problem and interpersonal
relationships. Managers cannot predict everyone's personalities, so adaptability is the key in choosing the
right approach. Effective teamwork in a global context is not just a desirable trait. It is an essential skill for
success in today's interconnected world. The key factors that contribute to successful teamwork in a
global setting include cultural awareness, effective communication and the ability to adapt and embrace
diversity. As we move forward in an ever-evolving global landscape, let us remember that teamwork
knows no boundaries. It is a universal language that transcends geographical constraints and when
executed thoughtfully and with a sensitivity to inclusivity, it has the power to bring about positive change
and drive success on a global scale. In the next module, we will look at some more aspects related with
virtual teams and effective presentation strategies.
WEEK 4

we had looked at the importance of teamwork and global considerations in digital communication. Today,
we will talk about how information technology is providing the necessary infrastructure to support the
development of new organizational forms. And virtual teams are an example of how the digital
communication has revolutionized the workplace and organizations with unprecedented level of flexibility
and responsiveness. We will also focus on the effective ways to convey information and persuade
audience in the framework of digital communication through virtual presentations. The rapid development
of new communication technologies has accelerated the use of virtual teams. Virtual teams are a groups
of those employees or people who are associated with a common cause, but they are dispersed
geographically and they have to be brought together with the help of information technologies to
accomplish one or more than one organizational task. It was a result of increasing decentralization and
globalization of the workforce. However, it was further accelerated due to the COVID-19 pandemic. The
common criteria for a team to be virtual are that they should be geographically dispersed over, they
should be driven by some common purpose, all of them should be enabled by communication
technologies and they should be also involved in cross boundary collaboration. Virtual communication is
multifaceted and complex. For instance, a virtual team that wants to connect at the same time, although
its virtual servers are located in different places of the globe, they use teleconference, video conference
or instant messaging. While a team that wants to interact at different times could exchange emails, yet
another team could use a chat room to interact. The basic types of virtual teams include parallel teams
and project development teams. Let us have a look at each one of this. Project development teams are
made for a specific purpose and they work only for a stipulated period of time. Their results normally
include either a new product based on communication through information systems. The project
development teams normally make decisions and also present some tangible outcomes and not just only
recommendations. For example, the project team that had created the new Boeing 777 was virtual. In
comparison, we find that parallel teams carry out a special tasks that the regular organization is not
equipped to perform. It has distinct membership and they are mainly used by MNCs for recommendations.
A project team usually exists for a longer period of time and also has a charter to take tangible decisions.
Their job description is not limited merely to make certain recommendations. More and more
organizations are forming global virtual teams because of the advancements in technology as well as
because of their interest in diversity. Therefore, it is important for us to understand how to start a virtual
team with different cultural groups and with the help of different types of technologies. Let us now look at
the basic steps for starting a virtual team. The primary need is to get organizational support, of course,
transparent funding and ICT support that is the support of the computers and information technology
team. Every virtual team must have a team charter which must include clearly the purpose, the mission
and the goals of this team as well as a clear understanding about who are going to be the team members.
They must also have a technology utilization plan to select the appropriate use of information technology
that matches the task and also the type and qualifications of team members. Virtual teams also establish
technology protocols to facilitate two-way communication and its continuity over a passage of time to
make the effective use of technological resources available to them. Virtual team members must be
competent in coordinating and collaborating with other members. Each virtual team needs to determine
how it wants to work and then select the most complementary and cost-effective technology. Some
technology is very convenient to use while others require sophisticated technology which has to be
specially learned and we will discuss more on this when we talk about synchronous and asynchronous
methods of communication. One of the main challenges faced by virtual teams is its ability or for that
matter inability in crossing cultural boundaries. In this context, I would refer to the 1991 work of Hofstede
who has emphasized that team members must be competent in crossing national, functional and
organizational boundaries. He has spoken about what are the characteristics of national culture and also
the manner in which it is learned and becomes a part of the personality of the employees of any team.
The national culture includes patterns that are established right from one's childhood. Now this perception
of individual national cultures is also manifest in the way the power distance takes place, the way we have
to look at the idea of individualism versus collectivism and also what type of gender perception different
team members have. What do we mean by power distance? The concept of power distance shows the
inequity between the team leader and other members and to what extent the other team members feel
safe in sharing their ideas, particularly ideas of difference with the team leader. So, the idea of
individualism versus collectivism takes the stand whether the team prefers to be taken as a collective
entity, as a single collective entity or whether it prefers the individualism and how the credit is taken by
different members of the teams. Our gender sensitivity under different cultural parameters also makes our
interaction either suitable or not. We will look at the concept of gender, influencing our online digital
communication in detail in one of the later modules. As Hofstede has discussed, power and gender are
important national boundaries or cultural boundaries that must be taken into consideration. For example,
certain countries like China are high power distance countries that accept that team leaders are the sole
decision makers and the team members normally do not feel very comfortable in challenging or
questioning their team leader. Similarly, implications for virtual teams also include differences in team
unity, differences in closeness to other team members and the ways in which rewards and recognition are
handled. Now, let us look at the functional and organizational boundaries within virtual teams. To
understand this further, I would refer to the Cameron and Quinn competing values culture model. This
model identifies four different types of organizational cultures and they are hierarchy, clan, adhocracy and
market. The vertical axis of this model looks at whether an organization is more focused on stability or
flexibility and the horizontal axis looks at whether the organization is more inwards or outwards looking.
The model is known as a competing values framework because it compares these competing priorities
that organizations can have and these priorities also affect the manner in which the virtual teams are
promoted and become functional. We can understand organizational culture as a pattern of shared basic
assumptions that the group has learnt as they gradually start solving external as well as internal problems
and consider certain solutions to be valid and therefore, these solutions, approaches and strategies are
taught to new members as the correct way to perceive. The diagram on the left-hand side of this slide
illustrates the ideas which we have already discussed. What do we mean by the functional culture? When
members of a virtual team come from different functional areas, they bring different assumptions,
practices and competencies that may affect the team performance. For example, mechanical engineers
learn a different set of techniques for managing projects than the software designers do. In a virtual
project team, these two groups may disagree about which approach is most appropriate. Similarly,
different organizational cultures carry different perceptions about the importance of time, their perceptions
about punctuality, relationship to its competitive environment and theories about human nature. Let us
take a case study in this context of a government research team in the US applying a technology
intensive approach. The task of this team was to identify and assess the most promising new and
emerging technologies so that the cost of launching into space can be lowered. They discussed space
propulsion technologies using desktop, video, audio and a shared electronic whiteboard. The virtual
research center had internet-based capability and the team used separate conference call link as a
backup during glitches in the audio. The video was turned off when the whiteboard lost synchronization
with the audio and the meeting proceeded with good results. It demonstrated that the internet had to be
robust to support bandwidth heavy multimedia usage. This case study shows that virtual team members
must carefully assess the quality of the bandwidth as well as the desktop video or any other technological
aspect which is needed for larger group discussions. We also notice in this case study that all the team
members interacted at the same time and this interaction is termed as synchronous. The entire category
of electronic options which are available to a virtual team is called groupware. The groupware can be
synchronous or asynchronous. Synchronous groupware enables team members to interact at the same
time. This includes desktop and real-time data conferencing, electronic meeting systems and electronic
display. Desktop and real-time data conferencing frequently combines electronic chat with an electronic
whiteboard that allows for the sketching of ideas. Its most advanced form is multi-point multimedia.
Electronic meeting systems are used in face-to-face settings to increase the productivity of group
deliberation. This requires special electronic meeting softwares and these are usually used for
brainstorming, voting, polling, etc. Electronic display includes technologies that aid the communication like
electronic whiteboards or flip charts. On the right-hand side in the table, we find that the advantages and
disadvantages of real-time conferencing are mentioned. Electronic meeting systems are compatible with
other applications like word processing, spreadsheets, presentations and these allow team members to
move back and forth from the work application. Let us now also look at asynchronous groupware. Virtual
teams do not always require face-to-face communications and they can also work in an asynchronical
manner. Asynchronous group wear facilitates delayed interaction and the commonest computer-mediated
technology for distance collaboration is of course the email. Electronic bulletin boards and web pages
provide shared work spaces for non-real-time discussions and editing of documents at a convenient time
by different partners. A shared database system is another asynchronous software that allows the
management of large amounts of information and knowledge. Workflow applications operate repetitive
business processes that involve sequential steps like the electronic processing of forms in a loan
application. The table on the right-hand side describes the uses and disadvantages of non-real-time
conferencing. Certain other examples include electronic notebooks and calendars that simulate real
calendars and notebooks. In order to facilitate these technologies and for virtual teams to succeed, the
organization s leadership must establish a culture that values teamwork, communication, learning and
capitalizing as far as diversity is concerned. Therefore, we need to understand the importance of the
team leader in virtual teams. As we can understand, the virtual team leader has several tasks to perform
simultaneously. The team leader has to manage team performance, prepare tasks with certain technical
requirements, also use appropriate methods of communication and collaboration to match every individual
capability with the technology which can be used by the concerned person. Therefore, it requires that the
team member must understand differences also which might exist among the team members and
leverage them to build trust and create advantages for the team partnership. The team leader therefore
must develop multicultural and multidisciplinary perspectives so that different group members feel
convenient in interacting with each other. The virtual team leader also maintains blogs to talk about the
achievements of different team members and helps in their career development and professional growth.
Virtual team leadership skills are a blend of traditional leadership skills and technological requirements. A
leader cannot exclusively rely on technology to satisfy all of a team's productivity, communication and
information sharing needs, but technology provides the critical link here. Let us try to understand at this
stage the real-world application of virtual teams and we will analyze virtual integrated practice in brief
known as VIP which uses virtual teams in primary care medical offices in the US. The primary care
medical offices use the VIP model in virtual teams to improve chronic disease management. This model
organizes a virtual interdisciplinary collaborative team around a primary care practice. For example,
healthcare professionals from different specializations are recruited as a team and linked to a selected
primary care practice. The healthcare providers provide comprehensive and coordinated care to patients
using virtual communication tools and electronic health records. They use standardized processes like an
automatic referral to a VIP team member for a clinical consultation triggered by an abnormal test result.
For example, a VIP model was implemented for diabetic patients which may include regular checkups,
medication management, dietary counseling and lifestyle coaching based on a predetermined or a pre-
advised blood test. However, there are some limitations to virtual teams which should never be
overlooked. Let us look at a video to understand how potential conflict miscommunication and sense of
isolation pose as challenges while working through virtual teams and also how to avoid them. Being on a
virtual team and working remotely can present unique challenges that are not faced by team members
who are collocated. Whether in another office location or at home, there are no managers or other
teammates sitting nearby to consult with or provide immediate responses or support. Likewise, there's no
one looking over your shoulder, keeping you focused and on task. One of the challenges then when
working from home is managing the separation of work and home life. Working from home has
advantages. You generally have some freedom over your work times, making it easier to meet other
demands on your time. You also don't have to waste time and money commuting. However, if there is no
enforced 9 to 5 schedule, it can be hard to maintain a proper balance. Often, at-home workers end up
either working too few hours or conversely putting in an unhealthy amount of overtime. It's essential to
put boundaries in place. The trick is to stay productive and minimize distractions as well as limiting the
potential for overwork and burnout. For many, creating a designated work area is key to separating work
and home life. Your workspace should have a clear physical boundary and your work should stay within
that space. It should be a work area that's not susceptible to disruptions. If you don't have access to a
suitable area at home, choose an appropriate external site, but one where you can avoid distractions.
Working in coffee shops, for example, may seem attractive, but a local library is probably a better choice.
In either case, consider that working remotely nearly always requires an internet connection. Working
virtually in a public place often mandates the requirement for VPN or similar secure connectivity. Whether
working from home or a distant office, all virtual team members face the challenge of dealing with lack of
everyday face-to-face communication and the team spirit that attends it. Working remotely, even in an
otherwise busy office, can be isolating. Virtual teams miss out on the informal everyday interactions that
collocated teams often take for granted. Things like chatting in the break room and discussing problems
on a coffee run. They miss out on nonverbal cues that indicate how their ideas and suggestions are being
received. They can go days without contact, leading to feelings of isolation, and virtual employees who
feel isolated are less likely to contribute to the team, eroding both team spirit and team trust. And this can
be even more difficult by the challenges posed by cultural differences. It is therefore important to maintain
a balance, to cultivate strong relationships, and foster an inclusive team environment. We now use a
range of modes, such as images, sound, and video, to convey meaning, and one of the most effective
way to convey information and persuade audience in online communication is through virtual
presentations. Virtual presentations are a particularly interesting example of digital rhetoric, as they
involve the use of multiple digital tools and technologies like multimedia elements, such as slides, videos,
and audio recordings, which are designed to convey information and engage the attention of the
audience. Virtual presentations are a form of collective communication, where a presenter delivers a
message to an audience via the internet or other digital means, using multimedia tools, such as
slideshows, videos, and animations. These multimedia elements can be created using a variety of digital
tools, such as presentation software, video editing software, and audio recording software. Virtual
presentations are designed to inform, instruct, and persuade. For example, describing the safety
requirements by any organization is an example of a presentation designed to inform the employees.
Showing school going students how to obey safety rules is instructive, and we can also use virtual
presentations to persuade. These presentations vary in style, complexity, and the levels of their formality.
Let us look at the main advantages, as well as certain drawbacks in the context of virtual presentations.
In the early 90s and 2000s, technologies allowed individuals and groups to connect and communicate
remotely, but they were often limited by low video and audio quality, high costs, and limited availability.
Today, virtual presentations have become very flexible, allowing participants to attend and participate in
the presentation from anywhere with an internet connection and without the need for travel. There are
several advantages of virtual presentations. It has a certain flexibility so that it allows the presenter to
reach a wider audience than it is otherwise possible in a physical mode. It is also interactive, as audience
are not passive receivers of messages, but they can respond through collaborative ways. It is also a
record for us, for other people to view, and also at the same time, we have the facility to keep it as a file
and then have a playback whenever we require it. It also improves the listening and speaking skills. For
example, the virtual presentations offer the opportunity to practice and refine their speaking skills in public
forums. The feedback from the audience is valuable in refining the messages, adapting to instant changes
and understanding their perspectives. Virtual presentations can also be recorded as we have seen earlier
and therefore, we find that they are particularly helpful. The YouTube video that you are watching just now
is also an example of an online lecture that is pre-recorded and shared. We would understand that virtual
communication is a give and take between the presenter and the audience. We can adjust the
presentation on this spot and establish the pace and information flow, by observing the reaction of the
audience. The audience can also use interactive features like chat rooms or Q&A sessions or comment
boxes to promote engagement and share their thoughts to ask questions. While virtual presentations offer
many advantages, there are also certain potential drawbacks which we should consider. Let us consider a
few of the major disadvantages. One among them is the possibility of technical difficulties or the data gap.
There are certain obvious technical difficulties. For example, the internet connection may be poor. There
may be issues regarding the software compatibility, hardware malfunctioning and user error which lead to
delay or non-sharing in the presentations. At the same time, we face the issue of unethical use of digital
citizenship which includes disrespectful and inappropriate online communication and irresponsible use of
technology and equipment and violation of personal information and data. The absence of a physical
presence sometimes makes it difficult for us to replicate a level of interaction that can create a sense of
community and connection. There are certain distractions and interruptions also as audience are more
likely to lose focus and attention to the presentation itself. And therefore, it is necessary that we follow
online etiquette. We should use appropriate language and tone in chats or forums, refraining from sharing
inappropriate content and respecting the privacy of other people as well as following the intellectual
property rights. We shall discuss more on digital ethics and citizenship in the upcoming modules.
However, let us say that we can minimize this by trying to create a more engaging and interactive
experience for audience. This can include incorporating interactive features such as quizzes, breakout
sessions or even small talk and providing breaks to raise the eyes of the audience. Let us discuss now the
essentials of planning virtual presentations. The significance of audience analysis and to choose the most
appropriate delivery method are important. Presentations for professional communication are often done
for informative and instructional purposes. They provide facts and explanations or give instructions on
how to perform a task. Informative and instructional presentations are given at conferences, trainings or
class lectures. They are factual and impartial and clear about the sources and outcomes and they can
also often use visual slides. On the other hand, persuasive presentations are often used in sales and
business presentations. They try to persuade and motivate people to take a certain type of action and also
try to see that they change their opinion about a particular product for example. They also use research
and visual data like charts and graphs in order to convince the audience. In persuasive presentations, we
have to be well informed of different perspectives of the issue as we are ultimately promoting only a
particular side of a subject. The method of delivery therefore is also important. Impersonal speaking
situations usually use an impromptu delivery. Professional communication can use either scripted or
extemporaneous delivery. As we understand, a scripted delivery is one which is read from an already
prepared text and it is used for complex technical presentations like an online conference paper or a
highly formal speech. In comparison to that, an extemporaneous involves speaking without a prepared
script but may still have a general outline or a plan for the presentation. It uses a style which is more
conversational and sometimes or rather I would say often projected as PowerPoint slides with key ideas
during the presentations. It is important to understand that virtual conferencing can take many forms,
some of which are video conferencing, web conferencing, webinars, Skype, etc. But most of them make
use of visuals to enhance engagement and to convey information and this is what we call visual rhetoric.
So visual rhetoric refers to the use of visual elements to persuade or to communicate a message to an
audience. It focuses especially on the use of images, design and other visual elements to convey a
message or argument. We can use presentation slides, screen sharing, virtual whiteboards or other visual
aids for this purpose. Visual whiteboards are used normally in online educational settings and they
resemble the physical boards. Online video platforms deliver presentations via internet. They coordinate
the sound and visual images. PowerPoints incorporate as all of us know text, image and sound and we
can also create slide show and can insert other multimedia. As part of visual rhetoric in virtual
presentations, such digital tools allow multiple users to collaborate on the same project. They can be
accessed from anywhere making it an ideal for remote work as well as online learning. Appropriate use of
visuals enhances the engagement of the audience. The first essential thing to do is to choose the most
appropriate visuals and to balance them with text. Remember that visuals are best suited to emphasize a
point or any place where showing is more effective than telling. It is also connected with the eye
movement and the gaze of the interactant in any online face to face communication, that is, where we are
looking at each other. In the references, a link is also being mentioned for further references where you
may find more information about it. Let us examine the sample presentation for better understanding. As
we can look at different slides given over here, the title slide here gives an overall forecast of presentation.
There is also an introductory slide which offers an engaging question as well as a visual so that we can
understand the concept in a better manner. The overview also is given in detail in a point-wise manner
using bullet points so that the audience know what is the extent of coverage. In another slide, we find that
the use of multimedia effectively illustrates the problem and it is at this stage that we can also provide
hyperlinks. The next slide also corresponds with the overview slide. If we discuss it further, we find that
two of these slides contain multimedia like images and hyperlinks. The photograph of a glass of water
seen in slide 2 creates visual interest that would otherwise be all text. Similarly, the diagram in slide 4
provides a visual understanding of the key points made in the previous slide 5. We have to keep the right
balance between text and visual and should not let the visuals overpower the research and purpose. Let
us look at how we can ultimately deliver the presentation in an effective manner. The primary precaution is
to plan and prepare our presentation systematically by researching our topic, that is, the content which
we intend to present. We should aim for simplicity and conciseness. Also try to anticipate possible
questions by the audience and outline our presentation right in the beginning for the benefit of the
audience. If the content is properly presented, we find that the organization of the presentation would also
be better. At the same time, we should have some clearer and prior work as far as audience identification
is concerned. We should also manage our style and speaking by being responsive to the listener
feedback and we should also be reasonable when we handle sensitive topics. We should also be able to
handle our criticism with certain grace. We can also use what are known as ice breakers to attract the
audience towards our topic and to maintain their attention. We can share a small anecdote, ask a
question or refer to a current event, etc. We can also give concrete example as they have informative and
persuasive elements in them. The elements of our personal style like how you move, speak or look are not
only important in offline interactions but also in virtual platforms. As discussed earlier in online
presentations, focus is on eyes, mouth, smile, pouting, etc. and the neckline, also the background which is
visible to audience which is connotative. In one of the previous modules, we have already discussed this
idea in detail. It means that we have to know how to manage the presentation style as well as your
speaking situation by tuning into the reactions of the audience so that the listeners can better understand
our perspective. It is also important for online attendees to have a time specifically for question and
answers to get inputs, feedbacks and to clear doubts. When we reach towards the conclusion of our
online presentation, we should also try to summarize the major points which we have covered and also
re-emphasize anything of special importance. Some type of repetition is also required as the old edit says,
tell them, tell them that you are telling them and tell them that you have told them. You have to consider if
you have given listeners anything to remember them. Let us watch a video by the Human Connection
keynote speaker and broadcaster, Rias Meghji, talking about the basics to capture your virtual audience.
Start with story. I get this question a lot. When you start your presentation, should you ask a question off
the top? Should you share a shocking statistic? I suggest start with story. Make them feel something real
right off the top. You want to hook them with an emotional roller coaster ride because the more real that
you can be, the more real the experience will feel for your audience. You might be wondering, what story
do you tell? Think about the questions the people in your audience are asking themselves. Right now,
they might be asking, well, what am I going to do now? What's the first thing I'm going to do when
isolation is over? How will I reinvent? You want to build your narrative around their priorities, not yours.
Fourth point, bypass the bystander effect. We've all been there. Diffusion of responsibility is a
psychological phenomenon in which people are less likely to take action when in the presence of a large
group of strangers. So, picture this, you're the speaker, you're in a Zoom chat, and you deliver a powerful
story followed by a powerful question and then crickets. People are waiting for someone else to jump in.
So, if you're the speaker and you have good relationships with some of your attendees, call on them by
name to help avoid some of that dead air or have a few backup questions to ask to trigger some thoughts
and ideas from your group so you can help bypass that bystander effect. In a virtual setting, the goal is
consistent engagement throughout. A popular technique for adaptive learning, the think, pair, share
technique. Throw out the question, give the audience some time to think about it, then get your group to
pair up in breakout rooms and have them share their thoughts. After, get them to report back in your main
room. These engagement triggers are vital with virtual presentations. Try and hit them every seven to 10
minutes because the more actively involved the audience is, the more they will listen and take action after
the presentation is over. These ideas will make our virtual meetings more effective and we will feel more
confident with our virtual presentation delivery. So, we have discussed that organizations that are virtually
networked link different geographies while also try to indicate differences regarding cultural, economic
and legal realities of different members of the team. Online platforms like SlideShare have also uploaded
more than 10 million presentations where we can access data pools, financial reports, photo essays from
organizations like NASA, IBM and Pfizer, etc. Virtual teams and presentations are becoming increasingly
common in today's globalized and technology driven world. We must adapt as an organization to it and
embrace new approaches to collaboration and communication. In the next module, we will be shifting the
concept of digital communication to the writing process. We will look into the framework and processes of
digital writing with the rising development of communication technologies.

we shall be looking at one of the key components of technical communication that is the writing process.
We will try to understand the shift from traditional writing to the landscape of digital writing. Why it matters
today and how the integration of technology has changed the whole outlook of writing and communication
in our world. It has changed from the perspective of the writer as well as from the perspective of the
reader. We will look into the framework processes and the use of emerging forms of communication
technologies as part of digital writing. The concept of digital writing addresses the question of how writing
and communication work in digital spaces. It is the art and practice of preparing documents primarily by
computer and often for online delivery. Unlike traditional writing, digital writing requires designing,
planning and constructing interactive and dynamic texts that often require multiple media elements like
text, images, video and audio across digital spaces. Let us look at it in somewhat more detail. Digital
writing includes a wide range of forms like technical writing, web pages, email, copywriting, blogs, social
media posts, digital correspondence and digital storytelling, etc. It has been defined by Dan Lawrence as
writing with technology and writing the type of content that appears across digital media. We can also look
at it as a form of creative writing that uses digital tools and softwares as an integral part of the conception
as well as delivery. These forms primarily suggest that digital writing is mainly used for web and social
media. The most effective digital writers understand at least in part how the tools and technologies they
are using operate. However, digital writing cannot be restricted to computers and word processing
softwares only. It is also about the networked spaces that computers provide to us where we can
compose, create, share and publish to the world and therefore, the technical skills related to digital writing
are built on the foundation of as we have discussed earlier to a participatory culture. So, we can say that
the participative culture is a key component of the digital writing process and it requires the skills of
appropriation, transmedia navigation, visualization and networking. Appropriation refers to the ability to
meaningfully sample and merge media content like text, audio and video. Transmedia navigation is the
ability to follow the stories and information across multimedia modes. Visualization suggests the ability to
interpret and create data representations for the purposes of expressing ideas, finding patterns and
identifying trends. Networking of course is the ability to search for, synthesize and disseminate
information. The images given show how particular visual elements can make the writing come alive. It is
designed and shared among global communities for a variety of purposes. Digital writing requires
appropriating multiple ideas and multiple content simultaneously. Like text writing, it requires crafting
effective ideas and leads and adding appropriate details as well as bringing effective transitions over a
strong conclusion. Therefore, effective digital writing encompasses various processes that involve
creating, editing and publishing written content using digital tools. The safest approach in this direction is
perhaps to start drafting without the support of the web only in a Word document or any other text editor.
Let us look at the writing process. The digital writing process incorporates drafting, revising and editing.
For drafting we find that there are platforms like Microsoft Word or Google Docs which offer different
features like spell check, grammar correction, etc. And they also provide us formatting options. The
revision stage also involves reviewing the structure from the point of view of grammar and later on also
from the perspective of presentation. And tools like Grammarly, ProWriting Aid and Hemingway Editor can
assist us by providing insights into the readability, choice of our words as well as sentence structures.
Editing and proofreading stage also involves the use of certain softwares like Adobe Acrobat Pro and
Scrivener which might be used for editing digital documents in professional settings. Digital tools can
assist with reorganization of paragraphs, with the refinement of our sentences and can assure coherence
and clarity in our writing. Also, digital writing is created for a particular audience, a particular purpose and
at a particular time via a particular technology or medium. This means that online tools can invite virtual
feedback by instant sharing of texts. This adds to the participatory culture of the digital writing processes
as the role and visualization of the probable audience has become much more significant in comparison
of the previous stages of non-digital writing processes. The digital writing process also incorporates
feedback, format options as well as the publishing opportunities. Tools like cloud storage or other
collaborative platforms can aid in easy sharing of works and real time collaboration. Suggestions and
constructive criticism also enhance our writing. The format aspects includes design and formatting
features like using headings, bullets, hyperlinks, incorporating images as well as certain multimedia
elements so that our writing also becomes more accessible for the target audience. Digital tools also allow
easy distribution, sharing and promotion of the written content through digital platforms like personal
blogs, websites or social media. It is important to remember that digital tools are only aids. They do not
substitute for our own critical thinking and it is advisable to make use of the suggestions provided by these
tools but ensure that they align with our own intended meaning and style. As writing has changed with
computer mediated and networked environments, our conceptions about what it means to be literate has
also changed. There are different theories that can inform our thinking of what it means to write with
technology and how writing has been changed by technology. Two major theories in this context pertinent
to understanding digital writing are Lankshear and Knobel s new literacies and Paul Gilster's digital
literacies. The theory of new literacies was developed by Michele Knobel and Colin Lankshear in their
work. It outlines how newer technologies and social norms are changing what it means to be literate in a
society. It suggests two mindsets that accompany old and new ways of envisioning literacy. The first
mindset approaches the world as being much the same now as it used to be in the past only with the
difference that the world today has become more technologized. The second mindset sees the world as
having changed significantly due to the digital technology and also the fact that cyberspace is part of the
physical world is recognized in the second theory. The cyberspace is not only part of the physical world
but also operates on its values. Knobel and Lankshear remind us that writing is no more a closed system
but one that involves networks and shared visions of how knowledge is made and distributed across
digital spaces. The second theory called the pedagogy of multiliteracies emerged from the work of the
New London Group, a group of scholars in the field of literacy studies. The theory of pedagogy of
multiliteracies was developed by the New London Group. It suggests that the concept of being
multiliterate means knowing visual, oral, spatial, gestural and other literacies that move beyond basic print
texts. Writing is about the many ways in which language, culture and technology interact. Paul Gilster had
developed the theory of digital literacy in his 1997 work which suggests that evaluating content and
mastering search engines are the building blocks for being digitally literate. We will learn about digital
literacy in detail in the coming modules. Nearly all the writing that we do today is informed by digital writing
tools whether we get information from the net or see a commercial that helps us think of a creative idea to
reach our audience in a presentation. These tools can incorporate websites, softwares, media sources
and any other type of network communication. This is also the reason why digital writers need to have
certain key skills to be effective at their work. And now let us have a look at them. The key skills which are
required by a digital writer incorporate prototyping, optimization, interactivity and automation. Prototyping
helps digital writers in creating mock-ups or prototypes which can be in the form of sketches or testable
demonstrations. Optimization is the process of somehow tuning and tweaking the digital strategies to get
the best possible results to ensure that the content is efficient and effective and is being driven by data at
proper speed. Interactivity refers to the extent to which a media subject can communicate with the user
including our responsivity to our consumers in the form of feedbacks, testimonials and replies. Automation
is allowing technology to run on its own. The pictures show creating a prototype of a website using Adobe
Photoshop. The website can be optimized if we feel that they are not performing appropriately. Similarly,
ChatGPT is an example of an AI driven chatbot which has automated many tasks like answering
questions, generation of content, language translation and much more. Digital writing encompasses
various forms and styles of writing that are specifically tailored for digital platforms. They include blogs,
technical writing, copywriting, emails, etc. All of us now are familiar with the terms blogging, copywriting
and UX writing. Blogs are typically focused on personal experiences, opinions or specific topics of
individual interests. Copywriting involves writing persuasive and compelling content usually for
promotional campaigns, ads and other forms of marketing communication. UX writing includes crafting
concise and user-friendly text for user interfaces or chatbots. It focuses on clarity, guidance and
delivering a positive user experience. The casual and personal manner of blogs are adopted by many
companies today to share their user experience. The product description of Swiggy and McDonald's that
we saw in these images as part of copywriting show how digital writing can persuade audience in a
creative and interactive manner. In the context of different types of digital writing, we should also look at
social media and website content writing, email writing and technical writing. Social media and website
content writing involves crafting concise and engaging content for different posts, captions and hashtags
on social media and at the same time creating a written content for websites and web pages. E-Mails are
normally used for various purposes, particularly in the context of business communication, customer
support, marketing campaigns. They are also used for personal correspondence. However, for informal
personal correspondence, we find that their popularity has rather diminished. Technical writing suggests
the creation of instructional or informational content. For example, the preparation of users manuals or
online tutorials. It explains complex concepts or procedures in a clear and concise manner for an ordinary
audience who might not be exposed to the technical side of the using of a machine or any particular
equipment. All these forms of digital writing focus on persuasiveness and search engine optimization that
optimizes online content to improve its visibility. The digital landscape continually evolves and new forms
of digital writing may emerge as technology advances and new platforms are developed. Let us take the
example of copywriting to understand how digital writing plays an important part in it for creating
compelling content for marketing and advertising purposes. So, we look at different examples in this
slide. British Airways had used digital writing on a London billboard in its look up campaign to identify
planes overhead. The copy clearly communicates the benefits of their service and also generates interest.
The digital ad by the athletic brand Nike is a compelling copy that grabs attention and conveys its value
proposition. The tagline shows the brand's stance and support with the NFL quarterback Colin
Kaepernick. It struck the chord with the right consumers. Similarly, the application LinkedIn uses metrics
in its ad copy which entices viewers to click for guides. Copywriters have strategically placed relevant
keywords within the copy with meta tags and hashtags that improve the website's visibility. It increase the
market value of these brands. The internet has now become a publishing platform for a variety of genres.
This entails having knowledge about how to write for the web. And the web has become a digital space to
write that is specifically tailored for online consumption. It focuses on creating content for websites and
also involves considering the user experience, readability and navigability of the webpage. Let us look at
the key aspects of digital writing for the web. As we have remarked earlier, digital writing for the web
refers to the practice of creating written content specifically tailored for consumption on digital platforms. It
may be in the shape of websites, blogs, social media, online publications, etc. It should have normally
descriptive headings, short paragraphs and bullet points to present information in a format which can be
scanned easily rather than to be read in a detail word by word. Hyperlinks are incorporated to provide
additional resources or direct readers to related information. It is also enhanced with multimedia elements
like images, videos and infographics. When we publish content to the web, we have a potentially global
audience. However, simply publishing the content on web does not mean that anyone will be able to see
it. We need to know the number and type of users who visit the website and thereby to optimize the
search engines so that this content will reach the targeted audience. In short, we need to know the web
traffic and search engine optimization so that digital writers can create content that aligns with the
interests of the target audience. Web traffic refers to the number and type of visitors who access a website
or its specific pages. Search engine optimization or SEO contributes to generating web traffic by
increasing the visibility of the website based on search performance. By incorporating relevant keywords
within the content, digital writers can optimize content for search engines and attract web traffic. Effective
digital writing practices contribute to driving web traffic while increased web traffic validates the
effectiveness of digital writing strategies. SEO will be taken in detail in the coming modules. Websites
typically have different types of pages that showcase different forms of digital writing and digital writing for
these pages requires considerations such as audience targeting and readability. The content on these
pages should be tailored to the needs and preferences of the online audience while maintaining a
consistency of tone in voice. So we repeatedly emphasize the role of the audience in communication.
Earlier only in the context of the offline communication, but now we find that the participation by the
audience has become much more important and effective and immediate in online or digital
communication. Effective digital writing plays a crucial role in creating persuasive and compelling content
for web page. A landing page is a standalone web page that is specifically designed with a focused
objective in mind and to drive traffic away from one place to another. Digital writers use headlines, sub
headlines, visuals and compelling call to action and engaging content. Digital writing plays a crucial role in
creating an effective privacy policy page for a website also. All relevant topics and user data such as
cookies, data retention, data sharing, security measures, users rights and contact information are
addressed on them. The home page serves as the gateway to a website and digital writers use unique
selling points, brand storytelling and multimedia integration for its creation. These are just a few examples
of the different types of pages that can be found on a website. The specific page and the required write up
will vary depending on the purpose, goals and nature of the website. This means that digital media
interfaces hail certain people as their ideal users and others as not so ideal. Let us look at this closer
through a form of digital writing called UX writing also known as user experience writing. UX writing refers
to the practice of creating clear, concise and also user centered content that appear throughout the
interface of digital products. UX writers focus on micro copy that is small snippets of text that are used
throughout a user interface to provide guidance, instructions and are also used as labels. Macro copy
which is informative messages, invitations or confirmations. Information architecture that is organization
and structure of content within a digital product. Voice and tone which is personality and style of writing
used in the user interface. Onboarding which introduces users to a new product or service. If we look at
the pictures of UX writing on digital products like Spotify, Apple and Slack the design thinking only caters
to a particular style and a particular audience. This target audience is the ideal addressee or what the
Russian philosopher Mikhail Bakhtin calls as the super addressee. The following slide explains the
concept of super addressee for those who might not be familiar with it. The following slide explains the
concept of super addressee for those who might not be familiar with it. Such writing shows the strategic
projection of certain socio-cultural practices. Let us see what Bakhtin means by the concept of a super
addressee. So as Bakhtin has explained interfaces always entail a super addressee that is a social
identity that users take on by legitimating only certain kinds of participants and interaction. This means
that software interfaces shape audience and their participation through the lens of user stylization and the
imposed interaction that may result from this. Let us look at this with the example of cookie consent
notices which is a common form of UX writing. We can easily say that UX writers do not simply write for a
targeted audience, but they also craft their audience producing a super addressee or an ideal listener
imagined to fully understand the utterance. Cookie consent notices as we know are micro copies used by
UX writers. They collaborate with designers to create an explicit stylization of their content and this
projects a particular socio-cultural style and a predetermined social identity that creates a constraint
participation structure. Let us see a video of a TED talk where a UX designer, Johannes Ippen talks about
how UX writing and designing has become the driving force behind successful products. So Ippen talks
about how UX writing and designing has become the driving force behind successful products. At the
same time, we find that this happens at the expense of happiness, mental health and purpose. Let us
listen to him. Companies like Facebook, Spotify or Twitch they know about that. Those companies are
dominant in their space because of great UX. They know how to create amazing experiences for their
users and that is a problem because see all of these products, all of these companies are services. They
are targeted towards a mass audience and they monetize through advertisement. The more people use
these products, these services the better. Actually those services only work when people do use them.
How good a product is can be determined through key metrics like usage rate or retention. We call this
engagement and we base our design decisions on them. So we design to grab your attention, to kidnap it,
to lock it in and hold on to it. We design these products to be used. The real-world impact of that is
horrifying. Last year there have been almost 800,000 divorces here in the United States alone. Over a
third of them, a British study found, are blaming Facebook for these divorces. So the design decision to
give couples a tool that gives them full transparency of interaction and a crazy amount of information
about the other person, about the significant other does result in unhappy relationships. And giving them a
product that is designed to be used and attention grabbing doesn't really help either. So whenever you
read a news story about a kid spending too much money in a mobile game or how we are spending 13%
of our productive time in social media or how great user experience products like Uber or Airbnb are
driving the gig economy, all of these are design decisions someone at these companies made. A design
decision that truly stands out in my opinion is Snapchat streaks. So we know that Snapchat is an
important and yeah, really cool social media and direct communication tool. When you are sending a
message with a friend, forcing back for a couple of days, you are on a streak. You get rewarded by this
little fire icon right next to your name and you have to keep the streak going. The longer, the better. And
users of Snapchat do take this very seriously. So what started as a fun little feature to showcase and
emphasize relationships now resulted in something that drives anxiety, that results in labor and that
creates fear of missing out. He talks about how companies like Facebook, Spotify and Snapchat create
amazing user experience for their users through writing and design. It shows how these companies as
services targeted towards a particular audience create horrible impacts in the name of engagement and
design decisions. Creating and presenting written content on websites requires web building tools and
these tools comprise various modes of digital writing like design software, visual editors, formatting and
content management. These web building tools are necessary to create an interactive piece of digital
writing. Website builders are user friendly platforms that provide intuitive drag and drop interfaces, pre-
designed templates and customization options. CMS or content management system allow digital writers
to create, edit and publish their content on websites. Design softwares and visual editors like Adobe
Photoshop, Sketch or Figma play a role in the visual presentation of written content. Version control
systems are tools that ensure that written content is tracked, revised and reviewed in a controlled manner.
These tools provide platforms, interfaces and collaboration mechanisms that allow digital writers to
present their content effectively on the web. Digital writing does not solely rely on writing, it is a crossover
between writing, language, technology and also the visual. Changing cultural trends have led to the rise
of many narrowly defined sub-genres or micro-genres within digital writing. Micro-genres like fan fictions
and memes have become cultural icons in digital platforms. They employ many non-linear storytelling
techniques to engage readers in innovative ways. Microgenres can arise from the intersection of specific
themes, styles or formats with the digital medium. Memes play a significant role in digital writing through
humorous or satirical images, videos or text-snipet shots. Digital writing incorporates flash fiction that are
extremely short stories often limited to a few hundred words or even a single tweet. Let us take an
example of the popular brand Nike's ad as a micro-genre of digital writing within the broader genre of
advertising. The video shows Nike's ad for once don't do it in support of racial justice. The video features
a black background with white text with a message that asks people not to pretend there is not a problem
in America and not to turn their backs on racism. The ad closes with let us all be part of the change. So
we can see that this ad subverts the brand's classic slogan just do it by calling on people to for once don't
do it. The writing reflected the brand score values identity and focus on consumer demands. So, it
becomes clear now that digital writing exists in a multilayered environment which is shaped by ethical,
legal and policy concerns. As writers use content found on the net, they must consider whether their use of
material constitutes fair use or violates copyright or any other sentiment. All these elements shape the
digital ecology. So, what do we mean by fair use and Creative Commons? Copyright is a legal framework
that grants creators exclusive rights over their original works. Fair use can be applicable in the digital
writing context when you want to quote, excerpt or reference someone else's work. It also allows for
limited use of copyrighted materials without explicit permission. Creative Commons is an organization that
provides a set of licenses that allow creators to offer permissions beyond the scope of traditional
copyright. Works under public domain are not protected by copyright or whose copyright has expired.
Copyright gives creators a control over how their works are reproduced, distributed, performed or
displayed. Digital writers should be aware of copyright protections and consider fair use when
incorporating the work by other people and can leverage Creative Commons license to share their own
work under specific terms and conditions. There are other ethical dimensions to digital writing and
composing. Let us look at some of them. These ethical considerations incorporate authorship and
ownership, privacy and data protection, plagiarism and attribution and privacy and data protection.
Respecting intellectual property rights and obtaining licenses for copyrighted material deals with
authorship and ownership issues and ethical digital writing also respects the privacy of the user and
ensures the protection of the user's data. Plagiarism and attribution suggest that proper attribution through
citations is essential when incorporating or building further upon the work of other people is concerned.
Digital writers have an ethical obligation to ensure the accuracy and truthfulness of their content. We shall
discuss intellectual property rights, participation and digital citizenship in the coming modules.
Nevertheless, one of the main aims of digital writing is to reach a vast and global audience. Digital
publishing makes it easier for the work to be discovered and accessed by a large group of people. When
we look at the issue of publishing digital writers, what immediately comes to our mind are social media
platforms like Twitter and LinkedIn which offer opportunity to share and publish our digital writing with a
broad audience. Digital portfolios that is a curated collection of our best works is an excellent way to
showcase and publish our own digital writing. It can be in the shape of a website, a blog or a slide show
and such other means. Collaborative word processors like Google Docs or Dropbox give easy access to
multiple writers to insert comments, highlight text and also suggest revisions. Longer pieces of work and
e-books can also be published and distributed to digital market places and self-publishing platforms like
Smashwords and Lulu. With a sea of content available online, writers must also know how to actively
promote their work and employ effective strategies to interact with readers and also utilize social media to
attract and retain an audience. Engaging and building a loyal audience in the digital space is challenging
as online audience tend to have a short attention span due to the constant flux of information. However,
digital writing is expanding as it is being shaped by technological advancements, evolving reader
preferences and the changing landscape of digital media. Digital writing will likely continue to integrate
with social media platforms and online communities. We can say that digital technologies should be
approached critically, perhaps also philosophically and rather rhetorically. Digital writing has started
incorporating interactive elements and immersive experiences to engage readers and also to continually
create better participatory reading experiences. With the increasing use of data analytics and AI, digital
writing may become more personalized and also more adaptive. Digital platforms can amplify
marginalized or underrepresented voices allowing for greater diversity and inclusivity in storytelling. The
future of digital writing may witness a broader range of perspectives, stories and voices gaining visibility
and recognition. In the next module, we will focus on interdisciplinary approaches in the field of digital
writing, particularly digital literature and also how to access the online digital content. We shall look at it
through an analysis of various literary texts and select critical perspectives.

oday in this module, we will be looking at interdisciplinary approaches in the realm of digital writing,
particularly in the field of electronic literature as well as the techniques and technologies to support
tailored access to content in its wide variety of forms. When we say electronic literature, we are taking
advantage of the computational, multimedia and networked properties of the contemporary computer and
digital media in the production of narrative works that are specific to this context. We are not necessarily
looking at the application of digital tools for writing, but shall look at experiments in the creation of new
forms of narratives in the digital environment. In this context, we refer to Katherine Hayle's work
Electronic Literature published in 2008, where she has explained electronic literature as a first generation
digital object that has been digitized, created on a computer and meant to be read on a computer. These
projects are forms of creative expression and experiments that research and engage with technology on
an aesthetic level. The genres of electronic literature include hypertext fiction, kinetic multimedia poetry,
interactive fiction, generative poetry and database narratives based on its engagement with the
contemporary technological apparatus. These are based on new writing practices, specific to network
communication, technologies and text-based new media art installations. This directs attention not only to
the changing nature of digital writing, but also to the different ways in which the literary community
mobilizes these capabilities. Let us trace the evolution of electronic literature or digital literature and try to
understand the main forms of delivery and consumption. The period between 1960 and 1980 is often
termed as the classical period of digital literature and it was marked by hypertext fiction. It allowed
readers to navigate the narrative by choosing links that led to different parts of the story and these texts
were written in a hypertext authoring program called storyspace. The representative work was Michael
Joyce's Afternoon, a story . The hypertext fictions between 1980 and 1990 mutated into various forms by
incorporating hybrid forms, non-linear storytelling and multimedia elements. As examples, we can refer to
Shelley Jackson's iconic work, Patchwork Girl, Stuart Moulthrop's multimodal work, Reagan Library,
which featured quick time movies with random text generation or Caitlin Fisher's These waves of girls that
included sound, graphics and other functionalities in a networked linking structure. These creative
representations of writing could never be replicated on traditional print formats. Let us analyze now the
example of Shelley Jackson's Patchwork Girl. This work engages dialogically with two works that are
different in genre and style but equally engaged with feminism. Mary Shelley's Frankerstein and Frank
Baum's Patchwork Girl of Oz. As a hypertext, its meaning is actualized through the reader's clicking of the
hyperlinks it contains and the narrative foregrounds a material being in the form of the patchwork girl
whose corporeality is repeatedly foregrounded and the reader's designated task is to patch up the
fragments of the creature's body as well as those of the various narratives that make up the text. It creates
a cyborg that is a hybrid being of textual organic and technological creature text. This form of writing is
termed as cyborg writing. With this background now let us look at the Patchwork Girl. Published in 1995,
Shelley Jackson's hypertext consists of five sections, body of text, graveyard, journal, story and crazy
quilt. Hyperlinks create a multiplicity of narratives which form the hypertext and are pieced together by the
reader's intervention. The dotted lines show the fragmented and variegated body of the female monster
that symbolizes her plural identity. The hypertext also deconstructs the male-dominated and plot-based
tradition of the novel and becomes an example of cyber feminism because the female is no longer
defined in biological terms but produced by female imagination itself. Many critics read Patchwork Girl as
the fragmented nature of human subjectivity, particularly female subjectivity which is enhanced by the
multiple reading paths enabled by the hypertext. It deconstructs male-dominated versions of identity
privileged by print text. With the advent of the world wide web, writers started experimenting with web-
based narratives. Interactive fiction or IF was once a genre that provided a dynamic storytelling
experience where players made choices that affected the outcome. The postmodern period of digital
literature was marked by interactive fiction and interactive poetry. Interactive fiction alternates gameplay
with novelistic components and it makes use of functional metaphors, nonlinear narratives, self-referential
commentaries and critiques and meta-textual elements to give authority to the user in constructing
meanings. The world of Emily Short is a visionary in text-based games. She blends non-player character
dialogue which is controlled by the computer and narrative agency of the player. She designed the
conversational interactive fiction that controls the interaction which is now progressed to an AI driven
experience. Her well-known works include Galatea, Counterfeit Monkey and Blood & Laurels that de-
canonizes the traditional theorizing of fiction. In a way, it can be said that interactive fiction has redefined
what it means to read by making it a more embodied and user-defined experience. These works are
dynamically based on reader inputs and randomization techniques such is also the case with interactive
poetry. Narrative design, world building and implementation happen within the digital world. This is what
the French literary critic Roland Barthes had called as the ideal text, one which associates text with
dispersion, multiple authorship and networked structure. Roland Barthes' work, S/Z, was published in 1970
but very uncannily as it has been commented by Katherine Hayles. It has anticipated electronic hypertext
literature as the ideal text as it outlines the plurality of paths and the multiplicity of approaches. In
cyberspace, all ideal texts are self-deconstructed because there is no imposition of the dominant and
canonical roles of reader and writer. Barthes called this ideal text as the playful writerly text that consists
of a galaxy of signifiers and it implies that the reader is actively involved in the process of creating a
network of meanings. Interactive and poly vocal discourses in hypertext fiction also disrupt the canonical
order. Interactive fiction also led the way for the creation of artworks which have flattened the hierarchy
between the author and the reader and this redistribution of power makes the reader into a co-author. The
advent of the world wide web opened up new possibilities for electronic literature because writers started
experimenting with web-based narratives. Text, audio, video and images were combined to create
engaging and immersive experiences for a much broader audience especially with the advent of the social
media. We can say that the contemporary period of digital literature is marked by web-based narratives
and collaborative storytelling through social media. Collaborative storytelling on social media involves
multiple users contributing to the creation of a narrative often in real time or through iterative contributions.
Social media users can start or join collaborative storytelling projects using specific hashtags or prompts.
Twitter fiction is an example of collaborative storytelling on social media where stories unfold through a
series of tweets. Immersive storytelling experiences are explored by virtual reality and augmented reality
which places reader directly within the narrative. Collaborative storytelling thus brings together
participants from various backgrounds, cultures and experiences. It is this diversity which enriches the
narrative incorporating different voices and perspectives into the story fostering a sense of inclusivity.
Virtual and augmented reality have also opened up new and innovative frontiers. We will discuss this
point in detail in the coming weeks. Now let us look at two examples, one from social media that is Twitter
and the other a web-based novel called The Jew's Daughter. These texts examine and represent the
operations of cognition through literary technologies. Ian Bogost and Ian McCarthy conducted a new
media experiment by renovating a section called Wandering Rocks from James Joyce's famous fictional
story Ulysses into a Twitter performance. Bogost and McCarthy created Twitter accounts for Joyce's main
characters and then adapted selected text from Ulysses into tweets. You will also find certain examples
mentioned here. They created a database for these tweets and broadcasted these database
performances. The Twitter-based remix was an attempt to show how media makes accessible the
cognitive function of a person's unconscious to others. It also shows how Twitter can be a part of the
literary efforts to record the experience of reading someone else's thoughts. This digital practice reminds
us of the literary technique of a stream of consciousness which tries to represent human cognition and
emotions without any interruption with the help of a text. Tweets are often written in first person point of
view and presented as immediate transcription of our cognition. It distributes stream of text thoughts to
readers via the web's hypertextual network. The next example we are going to look into is a digital work
called The Jew's Daughter which is a web-based novella by Judd Morrissey and Lori Talley and also
draws inspiration from Ulysses. The Jew's Daughter published in 2020 depicts a post-human
understanding of distributed cognition wherein a character's voice is permitted by information
technologies. For example, misspelled words and non-human voice for monologues. A succession of
individual letters appears in a linear stream and each letter is programmed to represent a different page
and page number to disorient the reader's sense of location. The computer turning pages can evoke a
sense of surprise for the reader as it triggers a different cognitive response compared to reading a linear
and conventionally printed text. The work reflexively displays a cyborgic reading practice that is human
technology hybrid reading practice. This political invisibility of cyborgs through cyborg writing has been
discussed earlier when we had talked about Patchwork Girl. The progression of pages in Jew's Daughter
shows the involvement of the other reader that is the computer in producing the literary text. This
manipulation of the reading experience can impact how the human brain processes and retains
information potentially influencing memory recall and engagement with the narrative. At this point, let us
look at a video by a member of the electronic literature organization Leonardo Flores where he is talking
about the potentials of digital medium. He is also talking about how it can actively shape the reader's
experience by playing a dynamic role in shaping the narrative. These textual behaviors were used to be
static. That is what ink does when you put it on paper. You put ink on paper and it will stay there for
centuries, even thousands of years if you preserve those materials well. But digital texts can do many
other things. Rather than go through the list, let me show you some examples. So here we have a
hypertext, my body. Hypertext is what we are most used to on the web. You have links, you have images,
you have static text, and the links are responsive text. You click on it and it does something. We can have
kinetic text. And here this animation, this poem argument, yes, no, yes, no, is a kinetic scheduled text
operating on a loop. We can see other kinds of behaviors such as in family tree. When you click on it, you
seem to have this sort of static kinetic text, right? But notice that pointer. And notice what happens as you
scroll down, as you move the pointer, it starts to affect the swing of this family tree. You see, that pointer
is your symbolic presence in the text. And the text is reading you as you are reading it. So, you become
part of the performance. To take it a step further, Jason Nelson took the idea of the platformer game and
combined it, used it as a surface for writing poetry. Game, game, game, and again game. I muted the
audio, but it combines all of these things, and you have to play through 13 levels. And your interactions
are meaningful. Obviously, this is a quick screen capture so you can have an idea, but each level explores
an idea. Here we have Taroko Gorge. This is an amazing work because you have this text that is slowly
flowing on a schedule down the screen. Now, it is a nature poem about this canyon in Taiwan, right, that
Nick Monfort visited and was inspired to write this poem. But if we look at the Source code, wait a second,
this poem is generated. If you try to read it on the surface, it goes on forever. And that source code, other
people like Scott Redberg, remixed it and made it about Tokyo. J.R. Carpenter remixed it, changed the
words, and made it about eating. Here we have the poem still flowing down the screen, Kathy Ann
Manbarrins made it about cooking, about Julia Child, about programming. Darius Kasemi, a famous bot
maker, made it about clubs in Hey Gorgeous. And as we can see, all of these texts, right, what we see is
the emergence of a new native epoetic form. Basically, this is like the sonnet. It is a form that people can
repurpose and do wonderful things with. The links in the hypertext represent our symbolic presence in the
text. The text is reading us as we are reading the text. So, we are becoming part of the performance. But
the problem with using digital medium is that technical malfunctions can disrupt the overall experience.
However, it is interesting to note that creators sometimes intentionally incorporate glitches to challenge
conventional aesthetics. And this is called the glitch poetics. Let us look the concept of the glitch poetics in
somewhat detail. Glitch poetics is characterized by the deliberate use of glitches, errors and technical
malfunctions in the creation and representation of texts and artworks. Prominent glitch theorist Rosa
Menkman notes that glitch opens up an area of critical inquiry by destabilizing the layers and sequences
of assured informatic flows and structures. Glitch poetics also subverts the idea of strict control and
precision in digital media. Critically, it implies the idea put forward by Katherine Hayles about how
language cracks and compresses under the pressure of the Anthropocene. It also implies that language
systems may struggle or experience difficulties in adequately expressing the profound changes and
challenges posed by the Anthropocene. Glitch poetics can be seen as a reaction to the hyper polished
and seamless digital aesthetics of mainstream media. Let us take two examples to demonstrate glitch
poetics which are artist Erika Scourti s work Negative Docs and Think You Know Me. Let us see how glitch
poetics works in these performances. Negative docs consist of a diary whose extracts appear in order of
increasing emotional negativity. These extracts are played through a speed reading app and Scourti reads
along until she loses pace with it. It is a performative reading of Scourti s descent into depression and her
inability to keep pace with life and the speed reader is used as a metonymy here to show how neoliberal
age technologies push human mental capacity beyond its limit. Scourti explores the flip side of glitch in
Now You Tell Me. The performance is based on the text she reads from her phone. She reads directly
from auto suggestions provided by her phone which has learned to speak for her based on a corpus of
her blogs, posts and tweets. The result is a text utterance that is uncannily evocative, textually strange
and overly intimate. These glitches recognize the limits of technology and the infrastructure that surrounds
it. Thus, glitch poetics embraces a politics of difference by cutting across the surface of the digital medium
into its depth through deliberate bugs and interventions. Digital or electronic writing is inevitably a process
that is a result of interaction between the author, reader, text and software and it will always be in a state
of transition. Electronic media has made possible the coupling of reception and participation which in turn
have produced novel reading, politics and practices. Let us also look at textual installations such as a
screen to demonstrate the need for digital works to consider the grammar of bodily interaction as part of
meaning attribution. Caves are immersive virtual reality environments where images are projected on four
surfaces, three walls as well as the floor. Using VR as a medium the text merges with the physical space
and confronts the reader with the semblance of volume and structure. Screen has become a classic VR
work for the cave environment. This work has been written as a three layered reading effort. Three texts
are projected onto three walls while a voiceover reads the text back to the users and words become
floating objects that can be moved around in a non-textual manner. These installations demand material
and presence ready literacy competencies. Hypertextualization of texts reorients digital writing to the
modes of ideology, production and consumption. The postmodern scenario has taught us that there will
be a material basis for digital works rooted in political discourses and that shapes the digital work. Let us
now have a look at it. Performative politics in digital spaces refers to the ways in which political actions,
ideologies and expressions are performed, enacted and disseminated online. The two examples which we
are citing here are that of the refugee project and also the movement of Black Lives Matter. This has
paved the way for the post digital that is digital writing beyond the screen. It means that digital writing is
complexly imbricated with social, technical and environmental context and that it can never be read in
isolation. Let us understand this further with the help of a contemporary example. Post digital refers to the
pervasive integration of digital technology into various aspects of contemporary life. Post digital creators
emphasize the materiality and tangibility of digital artefacts. Post digital practices often involve critical
reflection on the impact of digital technology on culture, society and identity. We can refer to the Xenotext
project which is a biopoetic experiment by poet and biochemist Christian Bok. The project seeks to
encode a poem into the genetic sequence of a bacterium essentially creating a living organism that
carries the poetic text within its DNA. It explores the intersection of technology, biology, poetry and art.
So, this poetic text by Bok, this Xenotext consists of words that obey a strict genetic code based on the
four letter DNA alphabet A, T, C and G. The poem was translated into a genetic sequence and was
inserted into the genome of a bacterium and this is the Xenotext project. In the whole digital writing
process, computer code and software are entities that often get overlooked. However, codes are also
shaped by ideologies, it influences the ways people interact with technology and each other. Let us look
briefly about the key aspects of critical code studies and how it is a part of post digital writing. Critical
code studies involve the analysis and interpretation of computer code as a form of writing, cultural
expression and a site of power dynamics. It investigates the power dynamics embedded in code including
issues related to surveillance, privacy, censorship and control. The best example is how algorithmic
biases can perpetuate social inequalities and ways to mitigate these issues. Just like any other digital
writing, CSS also requires a hermeneutic study and multiple readings of the structure, semantics and
syntax of computer code. By analyzing computer code through a critical lens, CSS helps to uncover the
often hidden ideological and cultural dimensions of technology and fosters a more nuanced understanding
of its impact on individuals in society. We will learn more about algorithmic bias when we talk about AI in
the upcoming modules. Digitality has become the textual condition of 21st century writings and literature.
It is very interesting to note that there are books that imitate digital literature. One such example is Mark
Danielewski's House of Leaves. It does not incorporate digital technology but it imitates an electronic text
in ways that change its ontology. The text is richly multimodal combining text, graphic colors and non-
linguistic sound effects. Layered text appears on many pages, for example, like square brackets, etc.,
signifying indecipherable that hint at unseen text behind the text just like a hypertext. Code also runs right
on the pages as if positioning itself as a rival to computer's ability to represent within itself a different or
the other media. The difficulty in reading the novel imitates the complexity in understanding the computer
code in its entirety. Having looked at these examples, one might also wonder about the future of print
literature. Perhaps books will not disappear but neither will they escape the effects of digital technology.
Digital technology has already interpenetrated them and digitality has become the textual condition of 21st
century writings and literature. The electronic text being portable and independent of a physical form has
already got a successor that could replace print-based books. They are the e-books published in e-reader
platforms. The e-reader platform should be dissected and examined that takes into account its unique
elements. The e-books offer an electronic mediated experience. It is a confluence of a hardware platform,
electronic text and commercial body working in concert to replicate a print-like reading experience. It is not
absent of its own political ideologies. It is not always geared toward the dissemination of knowledge and
intellectual exchange only. Rather, it follows a familiar business model designed in locking consumers to a
particular manufacturer's hardware and software eco-sphere. While reading, oriented e-readers aim to
mime some of the characteristics of a book, physical e-readers are designed for additional purposes. For
example, Amazon's Kindle or Barnes and Noble's Nook. While Amazon's Kindle provides features like e-
ink and front lid display with a built-in dictionary, Nook has its own glow light, library lending and
expandable storage. Let us look at a video now by the business news channel CNBC which was taken
three years back and which explains why physical books still outsell e-books. E-book or physical book.
You may be surprised to hear that for most, old school print on paper still wins despite digital media
having disrupted many other industries. 67% of Americans had read a physical book in 2017 but only 26%
had read an e-book. So why do people still prefer print over the convenience of reading on a smartphone,
Kindle or Kobo? You might think that electronic books, more commonly known as e-books, are relatively
new. But an initiative called Project Gutenberg claims to have started them all the way back in 1971.
Today it still publishes books online focusing on older works where the American copyright has expired so
it can offer them for free. The modern e-book came around in 2007 when Amazon launched its Kindle in
New York. It went on sale for $399 and was reported to have sold out in just five and a half hours. By
2010 Amazon announced it was selling more e-books than hardcover printed books. At the time many
questioned the future of hardcovers and their relevance in the digital age. While the Kindle popularized e-
books, the book industry is still dominated by physical versions. I met up with Merrill Halls, Managing
Director of the Booksellers Association, to learn why. Print's been incredibly resilient actually. I think the e-
book bubble has burst somewhat; the sales are flattening off. I think the physical object is very appealing.
So the cover designs are often gorgeous, they're beautiful objects. The book lover loves to have a record
of what they've read and it's about signalling to the rest of the world. It's about decorating your home. In
2018 more than 2.7 billion books in all formats were sold in the US for an estimated net revenue of almost
$26 billion for publishers. And that's just the value of all books directly sold by publishers to retailers. Of
that amount, around $22 billion worth were printed books, $2 billion were e-books and $1.2 billion were
audio books. In the UK the same year, publisher sales of printed and e-books topped $8 billion, with
printed books taking $4.5 billion of that. Cookbooks are having a resurgence. Nature writing and nature
books are doing incredibly well. And I think it's partly the sort of political landscape. People are looking for
escape but they're also looking for information. It's harder to have an emotional relationship with what
you're reading if it's on an e-reader. It's obviously cheaper to produce e-books than print copies, but the
number of printed books sold by publishers to retailers in the US and UK also outstrips the number of
downloaded books. Even the kind of books people like to read in print versus on an e-reader varies. In the
UK readers prefer fiction categories like crime, thriller and romance on their e-readers, but children's
books are still dominated by print. High profile launches like Three Women and of course the Fifty Shades
of Grey franchise have also boosted print sales. One of the major difficulties with e-books is that it gives
more of an impression of having access to a file rather than purchasing something as a source for reading
and entertainment. Ideology and technology live on several levels in the e-reader. Ideology informs not
only the physical design but user interface and distribution methods. It is important to digitize in the fast-
paced world, but it is more important to democratize and it can only be done by subordinating private
interests to the public good. Corporate enterprises like Google Books left unchecked will hold a de facto
monopoly over cultural knowledge with little preventing it from raising prices or even denying access in the
future. So, it is a misconception that e-readers are digital equivalents of print books. Now let us see what
is the current trait in knowledge production in the aesthetics of digital literary practices. Cybertextual
formalism focuses on the study of cybertext. The key features are ergodic literature, digital poetics and
algorithmic narratives. Ergodic literature expects its readers to engage with the text to generate meaning.
The readers of ergodic literature cannot simply consume meaning. Digital Poetics explores how digital
technologies enable new forms of literary expression and storytelling. This includes investigating the
creative potential of multimedia elements, interactivity and computational processes. At the same time,
there are some digital texts which incorporate algorithms to generate narratives where the sequence of
events or the content itself is determined by algorithms rather than a fixed authorial structure. This has
influenced discussions in digital literature, game studies, interactive media and new forms of storytelling
that have emerged with the advancement of technology. Katherine Hayles has talked about a media
specific approach in the field of digital writing and literature. Hayles emphasizes that electronic literature
cannot be fully understood without considering the specific material properties of the digital medium which
include aspects such as code, algorithms, visual elements, interactivity and network connections. She
has also introduced the concept of transcoding to describe the process of translating a literary work from
one medium to another. This highlights the differences and challenges in preserving the original works
meaning across different media. The physical and cognitive experiences of reading digital text differ from
those of reading print literature. This also encourages scholars to move beyond traditional literary analysis
and consider the intricate relationship between form, content, technology and the reader's experience in
the context of electronic literary works. In conclusion, digital and electronic literature have ushered in a
new era of literary expression and engagement, challenging traditional notions of textuality and
storytelling. As technology continues to evolve, these forms of literature have given rise to various new
approaches that enrich our understanding of how literature can be created, experienced and analyzed.
From hypertext and interactive narratives to algorithmic storytelling and generative literature, electronic
literature has expanded the creative possibilities available to authors and artists. The media specific
approach advocated by scholars like Katherine Hayles emphasizes the importance of considering the
material properties and affordances of digital mediums. Moreover, it has also led to cross-disciplinary
collaborations bringing together scholars from various fields such as literature, digital humanities, media
studies and computer science. In the next module, we will be looking more into the area of digital
humanities, particularly about the contested nature of digital scholarship, digital materiality, publishing and
its various realms.

These digital writing projects as we saw are inclined more towards the user defined, embodied and
interactive process that can dynamically reshape the reading experience. Today, we shall focus on key
developments related with digital narrative practices and new media fiction. We will see what is new about
these storytelling modes to further understand textuality and digital communication. We will particularly
refer to cybernetic writing, new media fiction, cyber fiction and cyberpunk narratives. The impact of digital
textuality on narratives has redefined how we create, consume and think about the written content. And
this brings us to the concept of cybertexts. The first thing to remember is that the cybertext is not a
revolutionary form of text with capabilities made possible only through the intervention of the digital
computer. It is also not a radical break with old fashioned technology. As Aarseth has commented,
cybertext is a perspective on all forms of textuality, a way to expand the scope of writing and literary
studies to include phenomena that today are perceived as outside of or marginalized by the field of literary
writing. Espen Aarseth had coined the term cybertext in his 1997 work Cybertext: Perspectives on Ergodic
Literature. He had also coined the word ergodic which refers to any kind of literature that requires a
special effort to navigate and digest. The term is derived from the Greek words ergon which means work
and hodos which means path. Aarseth's coinage of the term cybertext refers to a wide range of possible
textualities where the functional capabilities of cybernetics play a defining role in determining the aesthetic
process. Cybertext shifts the focus from the dyadic or the dichotomy of author-sender and reader-receiver
to an information feedback loop of transmedial and multimodal reading governed by cybernetic
interaction among the reader, the text in the hypermedium. It reduces the intentional powers of human
operator and makes them part of a text driven digital performance. Digital forms of creative writing are not
an imitation or a mockery of the traditional print text or author. We are dealing with what can be termed as
cyborg literature produced by a combination of human and technological activities. A cybertextuality
would question the relevance of author, text and reader and does not marginalize the positions of the text
and the reader for the author. Instead of trying to create a surrogate author, we have to see the computer
and other modes of technology as literary agents that point towards dialogic forms of improvisation and
free play between the user and the interface. Aarseth has talked about three positions of human-machine
collaboration in the study of cyborg literature and they are pre-processing, co-processing and post-
processing. Pre-processing suggest when the machine is programmed, configured and loaded by the
human. Co-processing suggest when the machine and the human produce text in tandem together. Post-
processing is in which the human selects some of the machines effusions and excludes others. Here we
have shown certain clippings of Woody Allen's 1993 film Manhattan Murder Mystery which makes use of
pre-processing and co-processing effectively. The cyborg authorship does not mean that the author has
given up control. As we have seen from Woody Allen's film, the response from the machine is beyond the
control of its author who can only hope that the machine follows a very linear narration. But the naive user
gets manipulated in new and interesting ways. And that is when we talk about digital narratives. We
cannot separate the text in the reader. Our body is doubly situated within the narrative. The user readers
are embodied as direct receivers whose bodies interact with the hardware and software of the computer.
They are also re-embodied through the feedback they experience in represented forms such as through
visible or invisible avatars. We will take the example of a physio cyber-textual crime fiction called The
Breathing Wall by Kate Pullinger and Stephen Schemat to understand how multimodal reading is
governed by corporeal politics. The Breathing Wall corresponds to Katherine Hayles concept of a post-
human world which sees the body as a prosthetic that we can manipulate. The implied reader creates an
augmented sense of corporeality that shows how semiotic resources are combined multimodally to form a
multisensory artifact. Thus, the narrative experience is a blend of multimodal techniques and bodily
interactive elements. This integration of traditional narration with physiological and cybernetic analysis is
termed as cyber somatic. The Breathing Wall is a physio-cyber-text crime fiction that responds to the
reader's rate of breathing using a design software called hyper-transfiction matrix. The gothic effect of the
story is amplified through the physical immersion in the narrative cybernetic matrix. It is the implied reader
itself that assumes the role of the private eye of the protagonist. The advent of new media fiction has also
pushed the boundaries of traditional narrative forms and explores the intersections of literature and
technology. We will look at two works at this point. One is the 2002 novel by Steve Tomasula, Vas: an
Opera in Flatland and the other is Mark Danielewski's 2006 novel Only Revolutions. Vas primarily focuses
on the relationship between textuality of the body and the materiality of the text, that is, the difficulty of
distinguishing between code and the world. Vas is largely the exploration of the post human body in which
bodies have become manipulable and are rewritable as texts and this shows the impact of new
information technologies on the way literature can be produced now. Codes that constitute the book
gradually become indistinguishable from the codes that constitute actual living matter. The form of the
novel is made possible by the development of new publishing software. It also contains a wide variety of
technical images that could be compiled and distributed through photocopying, microfilm and the internet.
Similarly, Danielewski's iBook edition of Only Revolutions affords the reader a view of the transformative
opportunities embedded in a digitally democratic text and the new possibilities of the digital medium.
Contemporary narratives democratize textual parts by giving equal importance to the separate elements
of the narrative development. Hyperlinking and music provide a multi-tiered readerly experience that shifts
authority and source. So, the book functions like digital media and is fashioned to perform like a computer.
Danielewski also lists different historical moments in what he calls as chronomosaic. However, the two
characters across time and space are joined together in the story content as well as in the layout of the
pages. The reader can reorient between the two narratives by clicking on the central page tile.
Danielewski inscribes the divisions onto the pages from parallel channels. Each voice retains individual
characteristics, but also equally contributes to forming the whole. The anxiety that technology poses a
specific threat to or competes with something human has been articulated by artists and critics since the
industrial revolution. In today's digital age, we are forced to address the notion that not only humans, but
also the creative writing they produce in the language they use may be nothing more than a machine
interface. And these writings focus on the cybernetic society and disruptions of pre-established patterns of
behavior that maximizes the fungibility or interchangeability of futures. This specific form of writing that
addresses this concept of postmodern thought is termed as cybernetic fiction. This form of writing has
become important for our study because it shows the strategic consequences of communications in the
future. Cybernetic fiction is a sub-genre of postmodernistic fiction that imitates or purports to be machines
or are structured like highly polished and integrated mechanical devices. They anticipate the effacement of
the discontinuity between man and machine and narrate against technological determinism. The term
implied reader was introduced by literary theorist, Wolfgang Iser to address the kind of reader that a text
assumes or suggests. Cybernetic fiction constructs the notion of implied reader through the non-linear
storytelling. Readers potentially navigate the text in different ways, creating their own paths and
interpretations. Implied reader is a concept of a textual structure anticipating the presence of a recipient
without necessarily defining one. The cybernetic postmodern fiction is a playful treachery in the sense that
it may look like a machine or talk about the mechanized man himself, but it functions as something more
than a machine, something inexplicable by assimilating a flesh and technology as well as human
interactions with machines. It shows how cyborg communication is formed. Let us further try to
understand the concept through some of the major works of cyber fiction. We would refer to J.G. Ballard's
1973 novel, Crash. It reveals the destiny of the human body in a world wired by cybernetics and
catastrophe. That is a crash body or an ungodly offspring of technology and science. Crash pursues the
image of Vaughan, its narrative alpha and omega. Technologies of photography become the condition of
all that Vaughan does and is in terms of voyeurism and hyperreal representations. Automobile is also
seen as a condition of agency in the cybernetic society. The body becomes the prosthesis of the
automobile and its surface in relation to it. Vaughan has used photographic representation of Elizabeth
Taylor also to rearrange it so that it can assimilate the textbook wounds of other bodies. We can say that
Crash represents the cybernetic postmodern society as disembodied without any effect or a semiotics
without any meaning. It is a strange fact of cyber fiction that it has explored the intersection between
homosexuality and technoscience. We would also refer to William Burroughs and Samuel Delany, two
authors that assimilate queer sexuality to technoscience. Let us see how a sexualized cyber fiction
becomes the erotic software of cybernetic society. Burrough and Delany turn to queer spaces where the
body mutates under new conditions and turns sexuality into a means of bodily transformation not
reproduction. For both these authors the creation of privacy, reproduction and consent remain a slave to
forces that determinates agencies, sexual or otherwise. Delany has used the word women to refer to all
humans in his work and this disturbs normative assumptions about gendered agency and sexual identities
even within the digital sphere. Burrow's trilogy deconstructs the autonomous heterosexual body as a host
body under siege by an array of incompatible life forms like viruses. Delany's work talks about creating
new bodies and experiencing new forms of life and sex. The gay protagonist Korga's planet explodes
leaving him as its sole survivor. Both these writers refuse subordination and its masochistic pleasures and
in this sense queer science advances new sexualities for cybernetic society. Cyber fiction often posits
fantasies of technological triumph over female flesh. All these changes when women start writing cyber
fiction. Genetics and bioengineering take the cybernetic turn for the insurgents of reproductive female
body against its masters. The best sci-fi practitioner who puts the concept at the center of her work is
Octavia Butler. In Octavia Butler's famous trilogy sexual reproduction gives way to genetic hybridization.
Through an alien species Butler reenacts one of the darkest aspects of the slave economy. Its reduction
of the body is specifically the female body to its reproductive capacity. So Butler posits a future where the
reproduction of flesh becomes a creative process and she views culture in the human tendency to make it
the condition of identity as an obstacle to the kind of change she calls xenogenesis. She imagines a
postcultural future in which identity is flesh and life is change. What Butler tries to do here is to view
change as something that occurs physically which is to say at the level of living flesh so that identity will
not be restricted to cultural politics. The important point to consider here is that alternatives to
conventional modalities of human existence are there as well. That is subjectivities that radically define
the nature of humanity and the nature of self. Let us look at this concept further by analyzing a
contemporary fiction Vega the Intergalactic Warrior by an Indian author Priyamvada Gaur. Vega the
Intergalactic Warrior published in 2023 is about an orphan young intergalactic warrior set in the multiverse
of Antriksha. The novel extrapolates the micro politics in parallel worlds and demonstrates the
construction as well as deconstruction of the feminist subject in a technologically influenced posthuman
world. It was against the limitations, socio cultural realities and ideological systems inherent in any vision
of a post apocalyptic future. It also asks vital questions about family, love and freedom and how they stack
up when the profiteers of war take the earth as well as the multiverse Antriksha towards annihilation.
Here again we deconstruct human and more than human opposition and begin to ask new questions
about the ways in which humans and more than humans mutually evolve. When we talk about Vega or
any other cybernetic novel placed in a cultural context, it becomes difficult to place it in familiar space or a
time period. This multiverse represent a place in which our future present day might look, yes. But does it
represent a utopia or a real time period now? No. In a state these forms of speculative fiction fall within
the realm of Uchronian texts. So, what is the concept of Uchcronia? Uchcronia is our present day world in
a fictional time period. The framework of Uchcronia expands the temporal frame to include the future. It
also suggests a no time and a representation of earth's future and an uncertain tomorrow due to the
culmination of present day actions. Vega can be termed as a blend of dystopia and Uchronia as it
presents an alternate kind and conditions of life in a different fictional time. It shows a teleological
progression of today's behavior in a world that has changed sometime in the future precisely due to same
human actions. So, why do cybernetic texts suggest a no time rather than in no place in a dystopian
universe? It is because that they show that the same place might look different in a different time. Further
details of the novel Vega are provided in the reference section. Contemporary cyber culture in certain
cyborg performances contain the actualization of new experiences of bodies with the spread of the
electronic environment. Let us try to understand this change of the body view in cyberspace and cyber
culture reexamining the infinite possibilities for interpreting the body. All of us are familiar with Gibson's
Neuromancer which had presented the imagery of cyberspace as a techno-fantasy. Contemporary cyber
culture has evolved to show how we grasp the experience of bodies through technologies and digital
performances. Media theorist Rosanne Stone conceives bodies in cyberspace not to be free from physical
bodies. The body representatives in cyberspace in her view have consensual interactive and haptic
experiences and become reconstructed bodies that permit the social, biological and the technological.
Artist and theorist Monica Fleischmann discusses how the body interacts with technologies or
environment and uses digital interfaces as a playful interaction of bodies, art and technology in opposition
to the theory of disappearing body in cyberspace. Thus, the reconstructed bodies in cyberspace have
both material and virtual dimensions. They gain a sense of presence and agency through the interface
and avatar. Let us take an example from popular culture. The 1919 movie Matrix directed by Lana and Lili
Wachowski is a cinematic representation of pushing our bodily limits to the edge of virtuality and
cyberspace. The film describes a future in which reality perceived by humans is actually the matrix, a
hyper-reality created by sentient machines in order to pacify and subdue the human population. These
sentient machines called agents patrol within the matrix simulation and eradicate any doubts as to the
reality to the virtual lives of its subjects. The protagonist is a hacker who becomes post-human through his
entry and embodiment inside the cyberspace of the matrix. The film supplements Jean Baudrillard's
concept of hyper-reality and simulation in which the medium has vanished and fiction has overtaken
reality by fully virtualizing the body. For Neo, the only escape from the machine virtual reality of the matrix
is by becoming more virtual than the screen. A Baudrillardian instance would suggest that the post-humor
has already happened and it is now merely a matter of imagining it. Then again, the question of what to
do with the materiality and physicality of the body comes. Let us look at the performance art of Stelarc, an
artist who explores the possibilities of redesigning the body into a cyborg through an interface of human
and the virtual. Stelarc s performance interrogates the symbiotic relationship between humans in
technology, body data and computer generated information. Stelarc ss body becomes a prosthetic moved
by an artificial external stimulus on exoskeleton. Both the human and the virtual body have input into the
operational behavior of one another. So, the body functions as a liminal interface between technologies
and it illustrates not an artist's design, but rather a virtual entity's desired movement that Stelarc refers to
as the whims of the avatar. This is a state of human not human where the physical self and virtual self are
in a continuous feedback loop. Let us now look at an art performance of Stelarc where he performs his
concept of walking machine exoskeleton at the STRP Biennial at Eindhoven in the Netherlands. I guess it's
a general curiosity about what's possible, what's plausible, what pushes the boundaries. So determining,
for example, the psychological and physiological parameters of the body or how one can augment the
physical body, the biological body with prosthetic attachments or robotic extensions or using instruments
that enhance your sensory apparatus, that's the kind of approach that this particular artist takes. You
know we're increasingly expected to perform in mixed realities. We're still biological bodies but
increasingly we're accelerated by our machines, we're enhanced by our instruments, our computational
capabilities are amplified with new technologies. So the body can be seen as a construct of meat, metal
and code. This performance that we see in the video is a cybernetic prototype in a multimedia
performance event. The performance nucleus lies in the code of digital entity that lies in the avatar and its
movements which are then moving Stelarc. The virtual interchangeability of humans and machines is a
recurring theme in cyberpunk and intrinsic to its representation of cyborgs. Cyberpunk is a genre that
couches the ambiguity of cybernetics by representing the conflicts and contradictions in cyberculture. So
cyberpunk can be described as a postmodern literary cultural style that projects a computerized future.
The multi-accentuality of cyberpunk is paralleled by the related phenomena of cyberspace and virtual
realities. So the cyberpunk narratives create a hypertext body constructed via technology and it also
deconstructs the opposition between wired and organic corporeality. It foregrounds virtual technologies as
decentering space and identities informing cybernetic communities that either lead to emancipation or
perpetuation of hierarchical structures of the society. What we have to understand about cyberpunk
narratives is that it conceives the body as a very fluid entity that is as an ever changing product of
technology and cultural contexts. The cyberpunk body can be a personality construct or even a
commodity that is it becomes hypervisible. We will discuss in detail the hypervisibility of bodies when we
talk about cybernetic sexual modalities and gendered subjects in the coming weeks. Let us also briefly
discuss one of the most intriguing areas of cyber literature that is fan fiction. Fan fiction combines popular
culture and literature in a unique symbiotic relationship. It signifies texts mainly created as pseudo-
sequels to a book or a comic strip or a TV series of film and that are not written by professional authors
but by fans only. Fan fiction forms a cyber community where members interact only in written form and the
reader communicates only with the pure creation of the text. It is an extreme manifestation of the
postmodernist concept of the death of the author as the traditional role of reader has changed and they
directly interfere in the writing process with their comments. Real person fic is a unique type of fan fiction
written by fans of public personalities, pop or rock groups. This can be seen either as a form of hyper
reality where characters are replaced by a simulacra of their representations in fan fictions. In fan fiction,
the author's own interference as a character sometimes makes the manipulation with reality even more
intense. Cybernetic writing and its offshoots signify a compelling step forward in the evolution of literary art
promising a future where the written word co-exists harmoniously with the infinite possibilities of
technology. The exploration of cybernetic writing, new media fiction and cyber fiction presents a
fascinating intersection of literature and technology that reshapes traditional storytelling paradigms. As the
digital age continues to evolve, the boundaries between reality and fiction become increasingly blurred,
inviting us to question the nature of identity, communication and the very essence of storytelling itself. The
dynamic integration of multimedia elements, interactive structures and complex narratives characterizes
this evolving landscape offering readers and creators alike a unique and immersive experience. These
forms of narrative expression not only challenge our understanding of literature, but also redefine the
ways in which we engage with stories. In the next module, we will be talking about digital communication
in the contested realm of digital scholarship, publishing, access and digital materiality. We will also have a
look at how we can sort out the digital humanities in the contemporary era of digital communication.

we will look at new literary cultures and markets, digital marketing narratives, digital scholarship and
independent publishing in a post digital world. Reading practices now as we have discussed have become
more migratory in the sense that text can be accessed across different devices and platforms. This
automatically dwindles with our attention span as well. We are now witnessing the emergence of a third
generation of electronic literature that signals mainstream adoption of emerging forms. E-lit creators now
turn to existing platforms and mobile devices rather than building interfaces of their own. This brings a
readymade mass audience as it makes easier for users or readers to adapt skills that they already have.
For example, swiping or rotating a screen on a smartphone. Our shifting reading practices in the digital
age have also reshaped the society and the way the society communicates. McLuhan's statement, the
medium is the message has extended increasingly into our lives. The digital medium now itself changes
our lives. The total pervasive effect that the digital medium has and the social changes it brings about
also become the message. McLuhan had noted that the content of the medium is never the message
because the content remains similar to the analog predecessors. The change comes from the new
medium which creates a new situation for human association and perceptions. What the digital age has
accomplished above all else is to defamiliarize the act of reading. As we shift back and forth between print
and digital mediums, reading becomes an increasingly self-conscious act. We study not only the words
on the screen, but also the way that the medium itself shapes our reading. Digital mediums like e-books
can either enrich our reading experience or can easily break the spell of the narrative. Discussing a novel
with an online reading community can transform the solitary experience of reading into a social one. The
shift from printed to digital forms is changing reading in the digital age. Nicholas Carr in his 2008 article is
Google Making Us Stupid and its ensuing debates give the most influential public account of the
message of the digital medium. The article had initiated a debate amongst Nicholas Carr and his
respondents Clay Shirky and Sven Birkerts. The discussion basically turned on three key topics. The
question of attention and reading habits fostered by printed books and digital formats, the question of
whether print fostered individual consciousness and electronic media privileged group consciousnesses,
the question of whether the digital age with its unrestricted access to texts and networks is more
democratic than the era of print. For the American writer, Clay Shirky, the real thrust of the shift to digital
textuality and the real cultural significance of the internet is its expansion of democracy. What this entails
is that different kinds of reading are emerging in the digital age, skimming, scanning, fragmenting and
juxtaposing texts happen online and it allows more flexibility among different information streams and a
low threshold for boredom. One of the most significant aspects of literary digitization is the possibility of
creating a library that contains digital copies of all literary text and that grants free and universal access to
them. Major digital libraries include Project Gutenberg, JSTOR, Google Books, etc., among which Google
Books perhaps is the most promising effort in the attempt to build a universal digital library. The Google
Books project sought to digitize all printed books and making digital copies which would be instantly
available to the reader. The cultural clash with Google Books happened when it started commercializing
content of the libraries. Instead of establishing a universal library which should be open to all, it sought
complete monopoly of the books of the partnered libraries. Robert Darnton, director of the Harvard
University Library from 2009 to 2015 published the article Google & the Future of Books and he talked
about how enterprises like Google Books is stand in the way of democratization of knowledge. His
argument was that digitization should not lead to privatization by subordinating public good for personal
interests. Google Books remains for now in all its legal and ethical compromises as a closest thing we
have to a universal library. As we have discussed in the previous modules, the shift to digital textuality
moves the author from the center of the text to its margins. Digital medium focuses on the links,
associations and dispersions of meanings. A contemporary digital authorship that best demonstrates this
is alternative literature or Alt Lit. It designates a community, medium, style and a particular subject matter
tied together by their extremely active use of social media. It is produced in a collaborative environment
posted online for free and edited based on feedback from readers. Existing in the free flowing space of
digital textility, works of alternative literature are dismissive of conventional notions of original authorship.
We can refer to Alt Lit writer, Tao Lin s novel Richard Yates which begins with a cut and pasted chat log
on Gmail chat. Marie Calloway s Adrian Brody is a detached account of a real life sexual encounter
replete with excerpts from emails and Tumblr blog posts. Many proponents of Alt Lit see the movement as
a way of harnessing the power of digital self-publishing to rescue literature from the hierarchical world of
print and move it into the mainstream of contemporary online life. Digital production has not fully
discredited the notion of original authorship. In a state it has placed contemporary writers in a position
where they must balance individual self-expression with the need to satisfy the reader's collective mind.
Dash Show s graphic novel BodyWorld is a product of this balance. It was first serialized on show's
website and revised for book publication in 2010. The artistic process in BodyWorld functions as a
complex hybrid of digital and analog methods that remain unresolved and in conflict. It is concerned with
the digital present and more specifically with the world of digital publishing. It talks of a deranged
researcher of hallucinogenic drugs and it takes as its subject the tension between individuality and the
hive mind in the digital age and the fate of the individual artist in a network society. If we look at the
pictures, we will understand that each drawing is a mashup of pre-Photoshop coloring processes and
Photoshop coloring. It has the smoothness of digital coloration with the roughness of analog brush
strokes. The most distinctive visual element in it is the palimpsestic overlaying to portray the merging of
consciousness effected by the drug. Through this hybrid of digital and analog, Show expresses the
unresolved ambivalence towards the digital world. Digital production may make the publishing process
faster, more accessible and more inclusive, but at the same time, it can never reinvent the print model. It
can only improve on it. As we have seen in the previous modules, critics have argued that hypertext
fiction would usher in a new literary era which would perhaps be characterized by a democratic leveling of
author and reader. However, it becomes important to understand that the remarkable rise of hypertext and
hypertextual interactivity was also followed by a subsequent fall. Let us look further at this particular
argument. The advent of hypertext marked fluidity and discontinuity of the digital narrative. It obviously
favored plurality over definitive discourses and in a way freed the reader from the domination of the
author. The two most important works in the early phase about it are 1991 publication of Jay Bolter and
the 1992 publication of George Landow. In 2001, Lev Manovich in his book, warns against how the
hypertext revise or objectifies processes of psychological association that in traditional print narrative are
left to the reader. Manovich warns against overly literal understandings of interactivity that equate it with
physical interactions like pressing a button or choosing a link. Such an interactivity becomes deceptive in
its claims to activate the reader. It would also be pertinent at this point to refer to Porter Abbott who points
out that hypertext invented neither non-linear structure nor readerly choice in determining the narrative
path because the story that the readers discover as they navigate hypertextual pathways will always be
linear. Other response critics argue that hypertext choice cannot transform readers into co-authors
because reading has always been an intrinsically creative activity. Let us take a compelling example of
toned down 21st century hypertext. Stephen Marche's Lucy Hardin's Missing Period published on the
website of the Canadian General Interest Magazine called The Walrus in 2010. Lucy Hardin has often
been portrayed as a choose your own adventure type of a novel for the generation that faces more difficult
decisions of adulthood in the digital age. As the funny title implies, the text unfolds like a sentence without
a period lacking a definitive authorized ending. Marche shows the promise of second wave hypertext by
not attempting to revolutionize storytelling, but using digital affordances to tell good stories better. It is an
interactive novel, but the author retains his hierarchical position within the text because the choices that
the reader once make cannot be undone later on. Lucy Hardin helps us to see hypertext for what it is, that
is a narrative form that shares much in common with older forms, but whose subtle differences allow
skilled writers to achieve artistic effects which were not possible perhaps in the print medium. What
happens when the place where you are reading also becomes the stage for the story? How can your
location shape and alter the story you are hearing? These were the purported aims behind the Ambient
Literature Project launched in London, Bristol and online in June 2016. Ambient Literature Project is a
collaborative research which investigates the potential of situated literary experiences delivered by
pervasive computing platforms which respond to the presence of a reader to tell stories. The reader is
asked to physically seek out by walking types of location in their own environment and in response are
given sounds and stories from remote yet related situations. Ambient Literature experiments with how
ubiquitous technologies found within smartphones can help us to access the data that is all around us to
produce literary works. This experience becomes a situated and an embodied practice because the
reader is staying open to the uncontrollable parts of real world and is also improvising as part of the
narrative. Let us look at the Ambient Literature Writing Projects from writers James Attlee, Kate Pullinger
and Duncan Speakman. The Cartographers Confession by James Attlee combine fiction, non-fiction,
imagined and real locations to create a story of migration, loss and betrayal. Breathe by Kate Pullinger
tells a story of Flo who has the ability to hear ghosts. Using three APIs, weather, time and location, the
story accesses data via the reader's phone in order to alter the story for every reader. Through carefully
orchestrated experiences, writers draw reader's attention to distract aspects of the environment,
highlighting the unseen and distracting from the familiar. Let us look at the example of Speakman's
Ambient Literature, It Must Have Been Dark By Them. It is a book and audio experiences that uses
music, narration and field recordings from three places in the world experiencing rapid human and
environmental changes. It Must Have Been Dark By Then is a combination of an audio walk and a
physical book. One of the things that is different about it from a normal audio walk is that there is no
prescribed route. It uses geolocation, satellite positioning but actually you are choosing the route yourself
as you do it. You are hearing sounds and interviews and field recordings from three other countries. The
piece invites you to choose different types of locations in your own environment and at each of those
locations you are invited to read a story from one of these other places in the physical book while you are
hearing field recordings and atmosphere from those places. This is your current location. The circle marks
a place. Some locations you will have to choose. Some will be chosen for you. And the work stores all
those places you choose so you kind of create your own personal map in the city but in the second half of
the piece you can walk back through where the narratives continue and you hear new parts of those
stories. How many real choices have you made on your walk so far? Maybe you have just followed
familiar routes or just drifted through this place. Right now you should try to find some kind of junction.
Having Duncan make the first of our commissions really provided us with an opportunity to work with
somebody who is incredibly experienced and that we can trust to challenge himself. It's a process of
investigating how digital technology and smart phones in particular can impact on what we know to be
situated storytelling and also how we write for that space and how we commission work and how readers
respond to it. It must have been done by then feels in many ways like documentary but the particular
mode in which it materializes in which you experience of it is different. This location might not seem
important but right now it belongs to you. You are the only one who knows why you chose it and now it
exists as the edge of your map. The ambiguity that's built into the design of the work allows you to create
an artwork that's unique to you. The three places are swamplands of Louisiana, empty Latvian villages
and the edge of the Tunisian Sahara. The piece requires the readers to switch between a smartphone
and a book. They are asked to walk marking specific moments of connection on the phone screen and
creating a map of it. However, the readers must also be aware about the politics of ambient literature, its
future potential and the issues that it already raises. It shows the ongoing realities of contemporary,
creative as well as critical works that rely on digital technologies and new kinds of interactions. Ambient
works and digital writings demand an understanding and manipulation of technologies which have
become exclusionary. The requirement of digital devices also raises the question of who is assumed to
have access to these means of interaction. It is predicated on a technological apparatus which is part of
an emerging specialized digital culture. This excludes the vulnerable and the majority population of the
informal economies too. The presumed urban safety that it demands implicitly creates an ideal reader
who is cis male, straight-presenting, able-bodied and neurotypical. This shows that bodies and their
reception in places are not the same for all subjects. Being male and white, they are unlikely to be
interrupted or assaulted or to be seen as doing something wrong. Digital literary experiments and digital
media's role in fashioning 21st century literature have forged the relationship between digital
communication technologies and contemporary literary culture. There has been a socio-cultural
conceptualization of the digital literature interface that is both contextual and contemporary in outlook.
The literature that we have discussed can only be understood through digital platforms because they
presuppose reading in digital environments. But the contemporary digital sphere is not just that, it is also
predominantly about authorial careers, publisher prospects and public understanding of literature. It is
also about critical judgments and reader response. Let us have a better understanding of these
components of the digital literary sphere as we look at it today. So when we look at the digital literary
sphere, what do we see around us? We have literary authors who have embraced an interactive and
distributed model of managing their presence online through Twitter messages, YouTube channels and
different other media platforms. Contemporary book publishers have also expanded into the phase of
author-reader encounter. Cultural consumption is evident through book-retailing websites like Amazon
and Barnes and Noble, etc. Digital literary sphere has also created the rhetoric of reader selfhood and
individuality as well as cultural self-fashioning. It allows readers to catalogue their book collections,
connect with those of similar tastes, rate and discuss particular titles. In the digital sphere, the author's
role extends far beyond providing the content. They are engaged in real-time conversations with their
readers, providing updates on the progress of writing projects and selectively endorsing their work. For
example, popular author John Greene has his YouTube channel Vlogbrothers and he even asked his
audience to design the paperback cover of his novel An Abundance of Katherines. The authorial persona
are increasingly projected via digital media and the authorial performance is made possible by digital
media technologies. Authors have embodied performances at writers' festivals, their political
engagements and their continuing hermeneutic agency in popular culture. The digital literary sphere
amplifies a social, economic and institutional consensus. They also foster an author-reader parasocial
pseudo intimacy to show an unmediated authorial voice and interaction. At this point, it is interesting to
refer to Bourdieu's concept of cultural capital and marketable commodities. Authors become cultural
capital because they contribute to the intellectual discourse of the society and some of their works
become part of the literary canon of high artistic value. They also become marketable commodities
because the assets they produce in the form of books have direct economic value in the marketplace.
The Canadian author Margaret Atwood is perhaps one of the most digital savvy authors. She has used
the long pin device to virtually sign copies of her books. She is also a participant of Twitter fiction festival
and patron of community writing site Wattpad. Let us also look at the contemporary voice. We would listen
to a video by a contemporary Indian writer Priyamvada Gaur. Her comments about the cultural dynamism
in the digital literary sphere and the creation of authorial identity across multiple communication channels
are based on her experiences of publishing her book. In the contemporary digital landscape, social media
has emerged as a powerful tool for authors to connect with their readers, amplify their reach and promote
their literary creations. With the right strategies, authors can leverage social media platforms to create a
buzz around their books, engage with their audiences and ultimately drive the sales. We will talk about the
effective techniques for utilizing social media to promote a book focusing on key platforms, content
creation, engagement, timing and success measurements. It is important to choose the right platforms.
The first step in effectively using social media for book promotion is selecting the appropriate platforms.
Different platforms cater to diverse demographics and content formats. Instagram and Pinterest are
visually driven platforms, suitable for showcasing book covers, author images and visually appealing
quotes. Facebook provides a more versatile space for discussions, live events and sharing longer posts
as you might all be aware of. Twitter's brevity is perfect for concise updates and engaging with readers.
Although it can pose a little bit of problems sometimes politically, as I have heard. Goodreads offers a
dedicated space for book enthusiasts, fostering discussions and reviews. It allows users to catalogue their
book collections and connect with those of similar tastes. So there is a cultural self-fashioning taking place
and there is a literary display to presumably like-minded audiences. We have to understand that all these
social media platforms, especially Twitter and Tumblr, form the superstructure of today's literary world.
Through the exchange of links, recommendations, news and contacts, there is a mass appeal for the
category of authors as we can create lively interactions with our readers, thus creating an authorial
identity across multiple communication channels. You might have seen the book trailer for my novel Vega,
which was officially released by Blue Rose Publishers in the YouTube. It has become equally important
for publishers to become digital savvy. This encourages further reader-author-publisher identification, If
there is a guarantee of quality control in the reader's minds. We have already seen how authors in the
digital era become representative of Bourdieu's symbolic and marketable capitals. But we cannot deny the
fact that it is the digital literary sphere's mass accessibility and discoverability that generates this overall
cultural dynamism. Therefore, we can say that authorship is just the text; It is also publicising, marketing
and interacting with the actual readers. This corresponds to the concept of authorial identity performance.
More information about author Priyamvada Gaur talking about new literary cultures and digital marketing
are given in the reference section. However, using Twitter for one-way self-promotion is known as
broadcasting within the Twitter worlds. Digitally distributed spaces have helped to sell the book not only
through commercial transaction but also through advertising and promotions. And this brings us to the
question, what are the conditions of existence for literature in the 21st century? Algorithmic culture
explains the rapidly expanding digital regime of cultural decision as they help in driving the prominence of
authorial profile and book sales through user recommendations. Innovations in online book marketing
include launching book trailers through online platforms and the phenomena of blog tours that include op-
ed style pieces, writer interviews and live websites. Some of the previous slides have hinted at the
commodification of books on certain online platforms like Amazon. Let us look at the picture on the top
right hand side of the slide. This picture shows Dan Turk's representation of Amazon as a cheetah and
the independent publishers as a wounded deer trying to evade the cheetah. Another paradigm of the
digital literary sphere is the book review culture. Social media has rendered reviewing more
democratically accessible and interactive. The internet has permitted readers to challenge facts, lines of
arguments or assumptions. The characteristic tone of digital book review culture is personal, intimate,
conversational and affective. This could also lead to trolling and abuse of contrary opinions often. The
critic in an era of digitally accelerated cultural democratization concentrates on textual specifics, judges
the importance of work and place them in hierarchies of value and considers how readers engage and
approach them. It is often not possible to identify the identity of those who write online reviews. A review
can be thoughtful, flippant or biased. Fiction remains the book sector that still cultivates the practice of
long-format, linear, immersive online reading in which emotional investment of the reader is avidly
encouraged. Let us also briefly discuss online reading groups. Virtual book clubs facilitate semi-anonymity
unless a reader chooses to represent or misrepresent them through personal disclosure, a pseudonym or
an avatar. And online forums asynchronous communication and unlimited space facilitate lengthy and
reflective responses rather than on-the-spot replies. However, the disembodied nature of digital mediums
raise issues about the site's cultivation of data for commercial purposes. The online book exchange-cum-
reading group BookCrossing facilitates the exchange of the same copy of a book that has passed through
numerous prior readers. The video shows the launching teaser of Netflix book club where readers will
hear about new books and films and exclusive access to each book's adaptation process. This shows how
reading communities are most often commodified through apps like Netflix, Kindle and Kobo based on a
genre's popularity, demographic appeal, geographic uptake and rate of book club adoption. The digital
advances have never led to the decline in demand for literature. In today's world, we can never neither
detach literature nor its authorial role from the digital realm. Let us listen to the views of Priyamvada Gaur,
the emerging Indian writer on this topic. Authors should actively interact with their followers by responding
to comments, addressing queries and participating in discussions. Asking questions or initiating polls
related to the book themes can encourage readers to share their thoughts and create a sense of
community. Hosting Q&A sessions or live author chats provides a direct channel for engaging with the
fans in real time. As you might have seen a lot of movie stars, they use Twitter, YouTube, Facebook and
Instagram for live chatting with all their fans situated all across the globe. Additionally, collaboration with
book clubs or bloggers can widen the reach and encourage in-depth discussions. In the digital frontier,
everyone's a critic. We are looking at a boom of electronic magazines. Emerging of new electronic
publishers, springing up of organizations to develop online leadership and bring them into contact with the
new writers. This is what encompasses the digital paratext. Digital paratext is a coinage by Simone
Murray in her book, The Digital Literary Sphere published in 2018. It is used to refer to all manifestations
of literary interests and their existence in the digital environment. This includes the public performance of
authorship through various authorial blogs, podcasts, Twitter messages, etc. The participatory culture of
the readers are redefined through digital reviewing culture where readers review social cataloguing
profiles, litt blogs and BookTuber videos bring in global literary conversations. The digital-oriented view of
literary culture finds its manifestation in online reading formations, publishers' websites and online
businesses that cater to convert readers' reading enthusiasm into a commercially viable business. The
digital literary landscape has evolved significantly in recent years with emerging technologies and
innovative approaches to storytelling. Immersive experience, multimedia integration, non-linear narratives
and collaborative storytelling are all part of it. Similarly, digital publishing has transformed the way
literature is produced, accessed and shared. Digital and technological platforms have redefined and
expanded the digital literary sphere in terms of creation, circulation and consumption of texts. Beyond
traditional e-books, digital spaces have given rise to new formats like web serials, interactive fiction and
transmedia storytelling. The rise of digital platforms and self-publishing tools has empowered authors to
bypass traditional publishing houses and release their work independently. It allows data analytics for the
collection of reader data, providing insights into reading habits, preferences and engagement levels. This
information can be valuable for authors and publishers in tailoring their content and marketing strategies.
In the next week, we will begin with an introduction to digital humanities.
oday, we will look at new literary cultures and markets, digital marketing narratives, digital scholarship
and independent publishing in a post digital world. Reading practices now as we have discussed have
become more migratory in the sense that text can be accessed across different devices and platforms.
This automatically dwindles with our attention span as well. We are now witnessing the emergence of a
third generation of electronic literature that signals mainstream adoption of emerging forms. E-lit creators
now turn to existing platforms and mobile devices rather than building interfaces of their own. This brings
a readymade mass audience as it makes easier for users or readers to adapt skills that they already have.
For example, swiping or rotating a screen on a smartphone. Our shifting reading practices in the digital
age have also reshaped the society and the way the society communicates. McLuhan's statement, the
medium is the message has extended increasingly into our lives. The digital medium now itself changes
our lives. The total pervasive effect that the digital medium has and the social changes it brings about
also become the message. McLuhan had noted that the content of the medium is never the message
because the content remains similar to the analog predecessors. The change comes from the new
medium which creates a new situation for human association and perceptions. What the digital age has
accomplished above all else is to defamiliarize the act of reading. As we shift back and forth between print
and digital mediums, reading becomes an increasingly self-conscious act. We study not only the words
on the screen, but also the way that the medium itself shapes our reading. Digital mediums like e-books
can either enrich our reading experience or can easily break the spell of the narrative. Discussing a novel
with an online reading community can transform the solitary experience of reading into a social one. The
shift from printed to digital forms is changing reading in the digital age. Nicholas Carr in his 2008 article is
Google Making Us Stupid and its ensuing debates give the most influential public account of the
message of the digital medium. The article had initiated a debate amongst Nicholas Carr and his
respondents Clay Shirky and Sven Birkerts. The discussion basically turned on three key topics. The
question of attention and reading habits fostered by printed books and digital formats, the question of
whether print fostered individual consciousness and electronic media privileged group consciousnesses,
the question of whether the digital age with its unrestricted access to texts and networks is more
democratic than the era of print. For the American writer, Clay Shirky, the real thrust of the shift to digital
textuality and the real cultural significance of the internet is its expansion of democracy. What this entails
is that different kinds of reading are emerging in the digital age, skimming, scanning, fragmenting and
juxtaposing texts happen online and it allows more flexibility among different information streams and a
low threshold for boredom. One of the most significant aspects of literary digitization is the possibility of
creating a library that contains digital copies of all literary text and that grants free and universal access to
them. Major digital libraries include Project Gutenberg, JSTOR, Google Books, etc., among which Google
Books perhaps is the most promising effort in the attempt to build a universal digital library. The Google
Books project sought to digitize all printed books and making digital copies which would be instantly
available to the reader. The cultural clash with Google Books happened when it started commercializing
content of the libraries. Instead of establishing a universal library which should be open to all, it sought
complete monopoly of the books of the partnered libraries. Robert Darnton, director of the Harvard
University Library from 2009 to 2015 published the article Google & the Future of Books and he talked
about how enterprises like Google Books is stand in the way of democratization of knowledge. His
argument was that digitization should not lead to privatization by subordinating public good for personal
interests. Google Books remains for now in all its legal and ethical compromises as a closest thing we
have to a universal library. As we have discussed in the previous modules, the shift to digital textuality
moves the author from the center of the text to its margins. Digital medium focuses on the links,
associations and dispersions of meanings. A contemporary digital authorship that best demonstrates this
is alternative literature or Alt Lit. It designates a community, medium, style and a particular subject matter
tied together by their extremely active use of social media. It is produced in a collaborative environment
posted online for free and edited based on feedback from readers. Existing in the free flowing space of
digital textility, works of alternative literature are dismissive of conventional notions of original authorship.
We can refer to Alt Lit writer, Tao Lin s novel Richard Yates which begins with a cut and pasted chat log
on Gmail chat. Marie Calloway s Adrian Brody is a detached account of a real life sexual encounter
replete with excerpts from emails and Tumblr blog posts. Many proponents of Alt Lit see the movement as
a way of harnessing the power of digital self-publishing to rescue literature from the hierarchical world of
print and move it into the mainstream of contemporary online life. Digital production has not fully
discredited the notion of original authorship. In a state it has placed contemporary writers in a position
where they must balance individual self-expression with the need to satisfy the reader's collective mind.
Dash Show s graphic novel BodyWorld is a product of this balance. It was first serialized on show's
website and revised for book publication in 2010. The artistic process in BodyWorld functions as a
complex hybrid of digital and analog methods that remain unresolved and in conflict. It is concerned with
the digital present and more specifically with the world of digital publishing. It talks of a deranged
researcher of hallucinogenic drugs and it takes as its subject the tension between individuality and the
hive mind in the digital age and the fate of the individual artist in a network society. If we look at the
pictures, we will understand that each drawing is a mashup of pre-Photoshop coloring processes and
Photoshop coloring. It has the smoothness of digital coloration with the roughness of analog brush
strokes. The most distinctive visual element in it is the palimpsestic overlaying to portray the merging of
consciousness effected by the drug. Through this hybrid of digital and analog, Show expresses the
unresolved ambivalence towards the digital world. Digital production may make the publishing process
faster, more accessible and more inclusive, but at the same time, it can never reinvent the print model. It
can only improve on it. As we have seen in the previous modules, critics have argued that hypertext
fiction would usher in a new literary era which would perhaps be characterized by a democratic leveling of
author and reader. However, it becomes important to understand that the remarkable rise of hypertext and
hypertextual interactivity was also followed by a subsequent fall. Let us look further at this particular
argument. The advent of hypertext marked fluidity and discontinuity of the digital narrative. It obviously
favored plurality over definitive discourses and in a way freed the reader from the domination of the
author. The two most important works in the early phase about it are 1991 publication of Jay Bolter and
the 1992 publication of George Landow. In 2001, Lev Manovich in his book, warns against how the
hypertext revise or objectifies processes of psychological association that in traditional print narrative are
left to the reader. Manovich warns against overly literal understandings of interactivity that equate it with
physical interactions like pressing a button or choosing a link. Such an interactivity becomes deceptive in
its claims to activate the reader. It would also be pertinent at this point to refer to Porter Abbott who points
out that hypertext invented neither non-linear structure nor readerly choice in determining the narrative
path because the story that the readers discover as they navigate hypertextual pathways will always be
linear. Other response critics argue that hypertext choice cannot transform readers into co-authors
because reading has always been an intrinsically creative activity. Let us take a compelling example of
toned down 21st century hypertext. Stephen Marche's Lucy Hardin's Missing Period published on the
website of the Canadian General Interest Magazine called The Walrus in 2010. Lucy Hardin has often
been portrayed as a choose your own adventure type of a novel for the generation that faces more difficult
decisions of adulthood in the digital age. As the funny title implies, the text unfolds like a sentence without
a period lacking a definitive authorized ending. Marche shows the promise of second wave hypertext by
not attempting to revolutionize storytelling, but using digital affordances to tell good stories better. It is an
interactive novel, but the author retains his hierarchical position within the text because the choices that
the reader once make cannot be undone later on. Lucy Hardin helps us to see hypertext for what it is, that
is a narrative form that shares much in common with older forms, but whose subtle differences allow
skilled writers to achieve artistic effects which were not possible perhaps in the print medium. What
happens when the place where you are reading also becomes the stage for the story? How can your
location shape and alter the story you are hearing? These were the purported aims behind the Ambient
Literature Project launched in London, Bristol and online in June 2016. Ambient Literature Project is a
collaborative research which investigates the potential of situated literary experiences delivered by
pervasive computing platforms which respond to the presence of a reader to tell stories. The reader is
asked to physically seek out by walking types of location in their own environment and in response are
given sounds and stories from remote yet related situations. Ambient Literature experiments with how
ubiquitous technologies found within smartphones can help us to access the data that is all around us to
produce literary works. This experience becomes a situated and an embodied practice because the
reader is staying open to the uncontrollable parts of real world and is also improvising as part of the
narrative. Let us look at the Ambient Literature Writing Projects from writers James Attlee, Kate Pullinger
and Duncan Speakman. The Cartographers Confession by James Attlee combine fiction, non-fiction,
imagined and real locations to create a story of migration, loss and betrayal. Breathe by Kate Pullinger
tells a story of Flo who has the ability to hear ghosts. Using three APIs, weather, time and location, the
story accesses data via the reader's phone in order to alter the story for every reader. Through carefully
orchestrated experiences, writers draw reader's attention to distract aspects of the environment,
highlighting the unseen and distracting from the familiar. Let us look at the example of Speakman's
Ambient Literature, It Must Have Been Dark By Them. It is a book and audio experiences that uses
music, narration and field recordings from three places in the world experiencing rapid human and
environmental changes. It Must Have Been Dark By Then is a combination of an audio walk and a
physical book. One of the things that is different about it from a normal audio walk is that there is no
prescribed route. It uses geolocation, satellite positioning but actually you are choosing the route yourself
as you do it. You are hearing sounds and interviews and field recordings from three other countries. The
piece invites you to choose different types of locations in your own environment and at each of those
locations you are invited to read a story from one of these other places in the physical book while you are
hearing field recordings and atmosphere from those places. This is your current location. The circle marks
a place. Some locations you will have to choose. Some will be chosen for you. And the work stores all
those places you choose so you kind of create your own personal map in the city but in the second half of
the piece you can walk back through where the narratives continue and you hear new parts of those
stories. How many real choices have you made on your walk so far? Maybe you have just followed
familiar routes or just drifted through this place. Right now you should try to find some kind of junction.
Having Duncan make the first of our commissions really provided us with an opportunity to work with
somebody who is incredibly experienced and that we can trust to challenge himself. It's a process of
investigating how digital technology and smart phones in particular can impact on what we know to be
situated storytelling and also how we write for that space and how we commission work and how readers
respond to it. It must have been done by then feels in many ways like documentary but the particular
mode in which it materializes in which you experience of it is different. This location might not seem
important but right now it belongs to you. You are the only one who knows why you chose it and now it
exists as the edge of your map. The ambiguity that's built into the design of the work allows you to create
an artwork that's unique to you. The three places are swamplands of Louisiana, empty Latvian villages
and the edge of the Tunisian Sahara. The piece requires the readers to switch between a smartphone
and a book. They are asked to walk marking specific moments of connection on the phone screen and
creating a map of it. However, the readers must also be aware about the politics of ambient literature, its
future potential and the issues that it already raises. It shows the ongoing realities of contemporary,
creative as well as critical works that rely on digital technologies and new kinds of interactions. Ambient
works and digital writings demand an understanding and manipulation of technologies which have
become exclusionary. The requirement of digital devices also raises the question of who is assumed to
have access to these means of interaction. It is predicated on a technological apparatus which is part of
an emerging specialized digital culture. This excludes the vulnerable and the majority population of the
informal economies too. The presumed urban safety that it demands implicitly creates an ideal reader
who is cis male, straight-presenting, able-bodied and neurotypical. This shows that bodies and their
reception in places are not the same for all subjects. Being male and white, they are unlikely to be
interrupted or assaulted or to be seen as doing something wrong. Digital literary experiments and digital
media's role in fashioning 21st century literature have forged the relationship between digital
communication technologies and contemporary literary culture. There has been a socio-cultural
conceptualization of the digital literature interface that is both contextual and contemporary in outlook.
The literature that we have discussed can only be understood through digital platforms because they
presuppose reading in digital environments. But the contemporary digital sphere is not just that, it is also
predominantly about authorial careers, publisher prospects and public understanding of literature. It is
also about critical judgments and reader response. Let us have a better understanding of these
components of the digital literary sphere as we look at it today. So when we look at the digital literary
sphere, what do we see around us? We have literary authors who have embraced an interactive and
distributed model of managing their presence online through Twitter messages, YouTube channels and
different other media platforms. Contemporary book publishers have also expanded into the phase of
author-reader encounter. Cultural consumption is evident through book-retailing websites like Amazon
and Barnes and Noble, etc. Digital literary sphere has also created the rhetoric of reader selfhood and
individuality as well as cultural self-fashioning. It allows readers to catalogue their book collections,
connect with those of similar tastes, rate and discuss particular titles. In the digital sphere, the author's
role extends far beyond providing the content. They are engaged in real-time conversations with their
readers, providing updates on the progress of writing projects and selectively endorsing their work. For
example, popular author John Greene has his YouTube channel Vlogbrothers and he even asked his
audience to design the paperback cover of his novel An Abundance of Katherines. The authorial persona
are increasingly projected via digital media and the authorial performance is made possible by digital
media technologies. Authors have embodied performances at writers' festivals, their political
engagements and their continuing hermeneutic agency in popular culture. The digital literary sphere
amplifies a social, economic and institutional consensus. They also foster an author-reader parasocial
pseudo intimacy to show an unmediated authorial voice and interaction. At this point, it is interesting to
refer to Bourdieu's concept of cultural capital and marketable commodities. Authors become cultural
capital because they contribute to the intellectual discourse of the society and some of their works
become part of the literary canon of high artistic value. They also become marketable commodities
because the assets they produce in the form of books have direct economic value in the marketplace.
The Canadian author Margaret Atwood is perhaps one of the most digital savvy authors. She has used
the long pin device to virtually sign copies of her books. She is also a participant of Twitter fiction festival
and patron of community writing site Wattpad. Let us also look at the contemporary voice. We would listen
to a video by a contemporary Indian writer Priyamvada Gaur. Her comments about the cultural dynamism
in the digital literary sphere and the creation of authorial identity across multiple communication channels
are based on her experiences of publishing her book. In the contemporary digital landscape, social media
has emerged as a powerful tool for authors to connect with their readers, amplify their reach and promote
their literary creations. With the right strategies, authors can leverage social media platforms to create a
buzz around their books, engage with their audiences and ultimately drive the sales. We will talk about the
effective techniques for utilizing social media to promote a book focusing on key platforms, content
creation, engagement, timing and success measurements. It is important to choose the right platforms.
The first step in effectively using social media for book promotion is selecting the appropriate platforms.
Different platforms cater to diverse demographics and content formats. Instagram and Pinterest are
visually driven platforms, suitable for showcasing book covers, author images and visually appealing
quotes. Facebook provides a more versatile space for discussions, live events and sharing longer posts
as you might all be aware of. Twitter's brevity is perfect for concise updates and engaging with readers.
Although it can pose a little bit of problems sometimes politically, as I have heard. Goodreads offers a
dedicated space for book enthusiasts, fostering discussions and reviews. It allows users to catalogue their
book collections and connect with those of similar tastes. So there is a cultural self-fashioning taking place
and there is a literary display to presumably like-minded audiences. We have to understand that all these
social media platforms, especially Twitter and Tumblr, form the superstructure of today's literary world.
Through the exchange of links, recommendations, news and contacts, there is a mass appeal for the
category of authors as we can create lively interactions with our readers, thus creating an authorial
identity across multiple communication channels. You might have seen the book trailer for my novel Vega,
which was officially released by Blue Rose Publishers in the YouTube. It has become equally important
for publishers to become digital savvy. This encourages further reader-author-publisher identification, If
there is a guarantee of quality control in the reader's minds. We have already seen how authors in the
digital era become representative of Bourdieu's symbolic and marketable capitals. But we cannot deny the
fact that it is the digital literary sphere's mass accessibility and discoverability that generates this overall
cultural dynamism. Therefore, we can say that authorship is just the text; It is also publicising, marketing
and interacting with the actual readers. This corresponds to the concept of authorial identity performance.
More information about author Priyamvada Gaur talking about new literary cultures and digital marketing
are given in the reference section. However, using Twitter for one-way self-promotion is known as
broadcasting within the Twitter worlds. Digitally distributed spaces have helped to sell the book not only
through commercial transaction but also through advertising and promotions. And this brings us to the
question, what are the conditions of existence for literature in the 21st century? Algorithmic culture
explains the rapidly expanding digital regime of cultural decision as they help in driving the prominence of
authorial profile and book sales through user recommendations. Innovations in online book marketing
include launching book trailers through online platforms and the phenomena of blog tours that include op-
ed style pieces, writer interviews and live websites. Some of the previous slides have hinted at the
commodification of books on certain online platforms like Amazon. Let us look at the picture on the top
right hand side of the slide. This picture shows Dan Turk's representation of Amazon as a cheetah and
the independent publishers as a wounded deer trying to evade the cheetah. Another paradigm of the
digital literary sphere is the book review culture. Social media has rendered reviewing more
democratically accessible and interactive. The internet has permitted readers to challenge facts, lines of
arguments or assumptions. The characteristic tone of digital book review culture is personal, intimate,
conversational and affective. This could also lead to trolling and abuse of contrary opinions often. The
critic in an era of digitally accelerated cultural democratization concentrates on textual specifics, judges
the importance of work and place them in hierarchies of value and considers how readers engage and
approach them. It is often not possible to identify the identity of those who write online reviews. A review
can be thoughtful, flippant or biased. Fiction remains the book sector that still cultivates the practice of
long-format, linear, immersive online reading in which emotional investment of the reader is avidly
encouraged. Let us also briefly discuss online reading groups. Virtual book clubs facilitate semi-anonymity
unless a reader chooses to represent or misrepresent them through personal disclosure, a pseudonym or
an avatar. And online forums asynchronous communication and unlimited space facilitate lengthy and
reflective responses rather than on-the-spot replies. However, the disembodied nature of digital mediums
raise issues about the site's cultivation of data for commercial purposes. The online book exchange-cum-
reading group BookCrossing facilitates the exchange of the same copy of a book that has passed through
numerous prior readers. The video shows the launching teaser of Netflix book club where readers will
hear about new books and films and exclusive access to each book's adaptation process. This shows how
reading communities are most often commodified through apps like Netflix, Kindle and Kobo based on a
genre's popularity, demographic appeal, geographic uptake and rate of book club adoption. The digital
advances have never led to the decline in demand for literature. In today's world, we can never neither
detach literature nor its authorial role from the digital realm. Let us listen to the views of Priyamvada Gaur,
the emerging Indian writer on this topic. Authors should actively interact with their followers by responding
to comments, addressing queries and participating in discussions. Asking questions or initiating polls
related to the book themes can encourage readers to share their thoughts and create a sense of
community. Hosting Q&A sessions or live author chats provides a direct channel for engaging with the
fans in real time. As you might have seen a lot of movie stars, they use Twitter, YouTube, Facebook and
Instagram for live chatting with all their fans situated all across the globe. Additionally, collaboration with
book clubs or bloggers can widen the reach and encourage in-depth discussions. In the digital frontier,
everyone's a critic. We are looking at a boom of electronic magazines. Emerging of new electronic
publishers, springing up of organizations to develop online leadership and bring them into contact with the
new writers. This is what encompasses the digital paratext. Digital paratext is a coinage by Simone
Murray in her book, The Digital Literary Sphere published in 2018. It is used to refer to all manifestations
of literary interests and their existence in the digital environment. This includes the public performance of
authorship through various authorial blogs, podcasts, Twitter messages, etc. The participatory culture of
the readers are redefined through digital reviewing culture where readers review social cataloguing
profiles, litt blogs and BookTuber videos bring in global literary conversations. The digital-oriented view of
literary culture finds its manifestation in online reading formations, publishers' websites and online
businesses that cater to convert readers' reading enthusiasm into a commercially viable business. The
digital literary landscape has evolved significantly in recent years with emerging technologies and
innovative approaches to storytelling. Immersive experience, multimedia integration, non-linear narratives
and collaborative storytelling are all part of it. Similarly, digital publishing has transformed the way
literature is produced, accessed and shared. Digital and technological platforms have redefined and
expanded the digital literary sphere in terms of creation, circulation and consumption of texts. Beyond
traditional e-books, digital spaces have given rise to new formats like web serials, interactive fiction and
transmedia storytelling. The rise of digital platforms and self-publishing tools has empowered authors to
bypass traditional publishing houses and release their work independently. It allows data analytics for the
collection of reader data, providing insights into reading habits, preferences and engagement levels. This
information can be valuable for authors and publishers in tailoring their content and marketing strategies.
In the next week, we will begin with an introduction to digital humanities.

WEEK-5
Introduction to Digital Humanities

We had also talked about the 21st century hypertext, ambient literature, and the new frontiers of selling
literature in the digital era. Today, we will begin our discussion with an introduction to digital humanities,
its basic challenges and evolution. We will also try to understand the potential of digital humanities for
significant change when it comes to practices associated with computational techniques and technological
changes. Today, digital technology plays a significant role in the way research is changing. Library
catalogues, emails, Google searches, and bibliographic databases have now become crucial for every
professional. While some may decry the loss of techniques and skills of older research traditions, others
have warmly embraced what has come to be called the digital humanities. It signals how computational
techniques have become an intrinsic part of the research process and are linked with many of the
questions raised by every branch of humanities today. It demonstrates the contributions of contemporary
humanities scholarship to new modes of knowledge formation enabled by networked digital environments.
Digital humanities is an emerging field influenced by computation as a way of assessing, interpreting, and
reporting the world itself. It takes account of the plasticity of digital forms and the way in which they point
towards a new way of working with representation. This might be called the digital folding of memory and
archives whereby one is to able to approach culture in radically new ways. Katherine Hayles contends that
digital humanities represents a movement from text-based study to closer links with time-based art forms,
that is film and music, visual traditions, that is graphics and designs, special practices, architecture and
geography for example, and curatorial practices. It adopts a perspective in which human cognition is
enhanced by computer functions and in doing so, the gap between the methodological applications of
digital technology within the humanities and the idea of a systematic integration of the human in the digital
gets bridged. Jeffrey Schnapp and Todd Presner have authored The Digital Humanities Manifesto where
they talk about what exactly and what exactly is not digital humanities. Why is it important today and how
does it shape the digital models of scholarly discourse for the newly emergent public spheres and how
does it facilitate the production and exchange of networks of knowledge. In 2009, Jeffrey Schnapp and
Todd Presner assembled the digital humanities manifesto with some help from other colleagues too. As
they suggest digital humanities or DH is not a unified field but an array of convergent practices that
explore a universe in which print is no longer the normative medium in which knowledge is produced but it
finds itself absorbed into new multimedia configurations. As we see digital tools, techniques and media
have altered the production and dissemination of knowledge in the arts, human and social sciences and it
implies the multi-purposing and multiple channeling of humanistic knowledge that does not preclude any
form of scholarship. It expands the range of its scholarship by emphasizing design, multimediality and the
experiential. The manifesto raises pertinent questions about the role of humanities within the digital
environment. More so as our cultural heritage as a species is fast migrating to digital formats. Because of
its descent from the counterculture that is the cyber culture intertwinglings of the 60s and the 70s, DH
values the democratization of culture and scholarship promoting collaboration and creation across
domains of expertise. The manifesto advocates a neo or post-print model where print is embedded within
a multiplicity of media practices and forms of knowledge production. Knowledge also assumes multiple
forms designing and determining the interface to information data and knowledge becomes just as central
as the crafts of writing, curating and coordinating. Digital humanities deconstructs the very materiality,
methods and media of humanistic inquiry. It recast the scholar as curator and curator as a scholar.
Arguments are curated through objects as well as words, images and sounds and it also implies a
specialization of both physical and virtual spaces rather than in language alone. This curation is most
explicit in virtual galleries and the transformation and expansion of other scholarly landscapes. DH
harnesses the global nature of today's research communities as a post-disciplinary opportunity of our
time. It emphasizes models of knowledge production and reproduction that leverage the increasingly
distributed social and cultural nature of technologies. The approaches taken towards understanding digital
humanities can be categorized into two waves of activity, the first wave and the second wave. However,
we should also keep in mind that such classifications are contested. So, if we look at the classification and
approaches to the digital humanities, we find that the first wave is the times when textuality was still
considered primary, visuality and sound were considered to be secondary. It uses quantitative data
production and analysis. In comparison, we find that the second wave is qualitative, interpretative,
experiential, emotive and generative in character. It is characterized by two distinct movements. It takes
the existing humanities and analyzes them in a different way through the use of digital technologies. And
secondly, it theorizes new concepts in the humanities involving the digital. So, these waves suggest how
the manner of reading has transitioned, has undergone a drastic transition. So, what kind of reading now
occurs when machines are analyzing book? As now the reading has become interpretive and emotive in
character. The critical question is what kind of reading occurs when machines are analyzing books? It can
perhaps never reveal the final detail and meanings that a traditional analysis can provide to us. It
produces a computational analysis of the structure, frequency of lexical choices, patterns of language use
etc. This itself forms the foundation of a qualitative reading of the material. The text itself is treated to a
hermeneutic analysis with the advantage of digital tools. This is called text mining which we will discuss
later in a module in detail. What we have to remember is that this can uncover patterns, themes and
information that a traditional close reading might still miss. This shift in the reading patterns illustrates a
transition from the first wave to the second wave. It would be pertinent to refer Franco Moretti, who has
proposed distant reading as a condition of knowledge that allows one to focus on devices, themes, tropes,
genres and systems. Unlike close reading, this involves studying literature using computational
techniques to analyze large collection of texts collectively. It does not read the text to find the subtextual
ideological formations. It implies a posthuman mode of machine reading and scholarship in which the
human interpretation takes a secondary role to algorithmic analysis. If we talk about the argument of
Franco Moretti, we should also perhaps discuss the argument provided by Stephen Ramsay. Stephen
Ramsay calls for algorithmic criticism in his 2011 book of the same name by positioning himself against a
mode of inquiry that foresakes the traditions of humanistic inquiry, close reading and hermeneutic
interpretations and against praises of computer analysis for its objectivity. Visual representations like
graphs, charts and maps are often used to gain insights from data. They involve the identification of
recurring patterns across a large body of text. This includes patterns in word usage, themes and narrative
structures, etc. In the following video, we can see Jeffrey Schnapp, one of the writers of The Digital
Humanities Manifesto and professor at Harvard Graduate School talking about the boundaries of the
humanities, the evolution of digital humanities and what exactly encompasses digital humanities as a new
form of production of knowledge. The humanities disciplines have been undergoing a very radical
transformation over the course of the last 20 years, but it is a transformation that has deep roots in the
history of the evolution of those disciplines that make up the core humanities. Starting really in the
immediate post-World War II era when mainframe computing began to have a powerful impact on other
areas of research, some early pioneers of what at the time was called computational humanities or
computing in the humanities or humanistic computing or humanities informatics, it had many, many
different labels, began experimenting with applying the power of mainframe computers and systems to the
analysis of cultural objects, in particular literary texts. So starting in that period, we begin to see a kind of
conversation emerging between the core humanities disciplines, whether initially certainly text-based but
gradually encompassing other areas of culture and the whole area of informatics and computer science.
That conversation goes on in a rather marginal way with respect to its impact on the core humanities
disciplines, probably for its first 20 or 30 years, but really comes to a head I think in the 1980s, starting in
the 1980s but really coming to a head in the 1990s with the revolution in personal computing and the
emergence of the World Wide Web as the defining public space of our time. And it's in that context that
what now has come to be called digital humanities really becomes a transformational area of experimental
scholarship within the humanities disciplines. I call it an area of experimentation because it isn't a new
department, a new field in a conventional sense, it simply represents an umbrella under which we can
group together a whole series of experimental approaches to some of the core questions that have
animated the humanities disciplines from the very beginning, questions like what is the meaning of a given
cultural object, how do different categories of objects relate to aspects of the social history of a given
country or place, what is truth, beauty, meaning in a given social circumstance, how do myths or stories
undergo transformations, how do ideas become symbols, objects, how do they get translated into
aesthetic objects and vice versa. All these kinds of questions come to animate what has come to be called
the digital humanities today. Schnapp explains how computational humanities transitioned into the digital
humanities as we know it today and how in the present era digital technologies are widely used in the
analysis of cultural artifacts especially literary texts. Lyotard in his most prominent work, The Postmodern
Condition has talked about how and also what knowledge is communicated in the light of new
technological and social changes in the post industrial age. Scientific knowledge has been transformed
into bits of information with the rise of cybernetics and informatics. Knowledge has become something to
be managed, controlled and sold. Let us look at how precisely this means in the context of digital
humanities today. Todd Pressner in his 2010 article Digital Humanities 2.0: A Report On Knowledge talks
about how digital humanities denaturalizes print and moves towards a media specific analysis. He
expands upon Lyotard's description of the nature of knowledge in computerized societies, the changes
that have affected the status of knowledge in postmodernism and what this might mean for the digital
humanities today. Firstly, he talks about the status of social bond in the question of individuality. Practices
move from writing in isolation to flexible modes of digital cultural mapping that connects distant scholars
and creates new feedback loop amongst them. Secondly, we should be aware of the status of the
university as the legitimator of knowledge. New research environments opt for media specific social,
cultural and economic analysis where knowledge can be contested and experimented. And thirdly, it is the
question of the legitimation of knowledge itself. Research has moved from stabilized ways of knowing to
competing paradigms for the generation, transmission, accessibility and preservation of knowledge.
Presner grounds his argument on the potential of technologies to exercise exclusionary control over
information as well as to democratize it by opening up access and use. This becomes the persistent
dialectic of any communication technology. Let us now look at some examples of web-based researches
associated with digital humanities. So, we can refer to a collaborative project of UCLA and USC started in
2014 and known as HyperCities. It is a digital media platform for exploring and interacting with the layered
histories of city spaces like Berlin, Tehran, New York, Rome, Los Angeles. It is developed by using
Google's map and earth's APIs and it features research on geo-temporal analysis using visual,
cartographic and time-space based narrative strategies. And it is the connective tissue for many digital
mapping projects and archival resources. The second is Ghost Metropolis by Philip Ethington taken up in
2015 which demonstrates how history experienced with complex visual and cartographic layers
transforms the urban, cultural and social environment in the global city of Los Angeles. It shows a
hypermedia environment, narratives and other visual assets moving between local and global histories in
a richly interactive space. What all these projects have in common is an approach to knowledge
production that underscores the distributed nature of digital scholarship, their hypermedia approach to
argumentation and their open-ended participatory approach to interacting with media objects. This shows
that digital humanities needs the development of a set of approaches to be engaged in the challenging
combination of tasks such as creation, computation, curation, analysis etc. Let us look at some of them.
So, how do we approach digital humanities? Digital humanities is a two-way approach. The systematic
use of digital resources in humanities and secondly the humanistic analysis of the application of digital
resources. This approach involves developing digital tools for data mining, hypertextualization, digital
mapping and information retrieval. Data mining is the process of using computational techniques to
extract meaningful patterns from large data sets related to human culture, history and in fact, any other
aspect of the humanities. Hypertextualization is the process of transforming text or a collection of texts
into a network of interconnected elements often through the use of hyperlinks. Digital mapping involves
the use of digital tools and technologies to create, analyze and visualize spatial data. Information retrieval
involves using computational methods and techniques to efficiently locate and retrieve digital data or a
specific information from large databases. These are just some of the approaches that would allow
researchers to access vast amount of digital data in relation to cultural, historic, linguistic and literary
aspects. With the advent of technology, researchers have realigned the methods required for the digital
environment for managing primary resources and research based on them. Some of the main practices
that combine traditional humanities with computational methods are digital archiving, digital curation and
digital preservation. So, what exactly is the digital curation? Digital curation is the curation of digital
objects and information. This includes digital archiving and digital preservation. The processes needed for
good data creation and management and the capacity to add value to data to generate new sources of
information and knowledge. Digital preservation is the series of managed activities necessary to ensure
continued access to digital materials for as long as necessary. Linked open data in digital curation assist
in discovering related content and improves access to digital primary resource collection. Digital
repositories like BibFrame and Digital Public Library of America make extensive use of linked open data.
In short, digital curation refers to the actions needed to maintain digital research data and other digital
materials on a permanent basis. As we discussed, digital curation is often accompanied by digital
archiving. They serve as repositories of primary source materials that can be analyzed, interpreted and
used as a basis for research and scholarly inquiries. So, digital humanities provide access to digitized and
curated collections of cultural, historical and literary materials. The role of digital archivist is to reinforce
the semantic connection between the digital object and the context. Trevor Owens in his article published
in 2011 recognizes that the meta data in digital archives represents three dimensions of humanist
technology. Firstly, the data itself represents a digital object that may or may not be the digital
reproduction of the physical original. Secondly, the data itself supports a new narrative and thirdly, the
data itself may be useful in data visualization for additional interpretations with applicable technologies.
Digital archiving is equivalent to presenting an abstract world in the form of a digital object comprised of a
combination of media, text and data. This provides a meaningful relationship between a digital item, say a
document, image or video and the information surrounding it providing context that helps users
understand its significance and relevance. Let us look at some examples of projects that illustrate multiple
scenarios for using digital archives. We can also refer to Global Shakespeare Video and Performance
Archive which provides global, regional and national portals to Shakespeare productions and access to
essays and meta data provided by scholars and educators. We can also refer to Perseus Project, an
early digital humanities project taken up by Tufts University. It featured 31 authors and focused on Greco-
Roman art and architecture in digitized images, hypertext, guided tools, search tools and look up tools.
Other archives include text Encoding initiate projects like Binder's book, thematic research collections like
the Walt Whitman Archive and recent Projects Like The Digital Literary Atlas Of Ireland. Archivists and
digital curators collaborate on the preservation of content and access to meta data which helps
researchers. Author and theorist of digital culture Lev Manovich came up with the term cultural analytics. It
refers to the computational analysis of patterns and trends in contemporary digital culture. The term
extends its analysis to all large scale cultural data and visualizations. It incorporates all kinds of media as
opposed to only texts and historical culture. Lev Manovich in his 2020 book has defined cultural analytics
as the use of computational and design methods for exploration and analysis of contemporary culture at a
scale. The use of numerical representation, data analysis and visualization methods offers a new
language for describing cultural artifacts, experiences and dynamics. The intention of cultural analytics is
to augment our human abilities by providing new interfaces and techniques for observing massive cultural
data sets and flows. This includes critical examination of these methods and their assumptions. The
pictures given on the right hand side of this slide show a visualization analysis of Time magazine covers
from 1923 to 2009. It reveals a number of historical patterns like the shift in medium, color, hue,
brightness and content etc. It also reveals an important meta pattern about the cultural history and
presents that the new communication strategies emerge slowly over a number of years or perhaps even
decades. Let us look at Manovich's own example of using quantitative analysis in the cultural category of
genres of Japanese manga series. The lab project of Manovich, One Million Manga Pages, analyzes 883
manga publications using data and over 1 million images downloaded from the fansite, Onemanga. The
downloaded metadata included names of authors, artists, publication periods, intended audience and
tags describing their genres. The fans used 35 genre categories to tag manga series on the site. The first
graph represents genre affordances to show which combination of genres are popular, not popular or
impossible. The thickness of the lines indicates how often the tags are used together. The brightness of
the genre names indicates the frequency of each tags. The second graph shows the connection between
genre and audience category. The connection between romance and drama is stronger than romance and
comedy. Male and female teenagers as per this graph prefer comedy but not young men. This analysis
also shows that visual style in manga also constructs gender differences. The connecting lines show
young men and boys prefer action while teenage girls prefer anime, romance and drama. Another
important practice in digital humanities is text mining and visualization. Subtle and nuanced details often
revealed through close reading are now encoded by new and sophisticated tools for computerized textual
research through text mining. Matthew Jockers and Ted Underwood in their 2015 article describe text
mining as an interdisciplinary endeavor for extracting knowledge from unstructured texts. It borrows freely
from corpus linguistics and computational linguistics as well as social scientific traditions. Documents are
often grouped according to their similarity on the basis of some finite set of textual features such as the
relative frequency of the most frequently occurring words. So, we find that topic modeling leads to text
classification which leads to temporal analysis. By topic modeling, we refer to the identification of the
main topics or themes which are present in a collection of texts. Machine learning algorithms are used for
categorizing texts into predefined classes or categories based on their content when we talk about text
classification. Temporal analysis is done to analyze how language usage or themes change over time
providing insights into historical or cultural trends. Let us take the research approach of culturomics. An
example of text mining to analyze a massive corpora of digitized text to gain insight into cultural trends,
historical events and linguistic patterns. Culturomics is a project undertaken by Jean-Baptiste Michel
along with his colleagues in conjunction with Google to study culture as it gets expressed in the Google
Books corpus. It applies high-throughput data collection and analysis to the study of human culture in
books, manuscripts, newspapers and magazines etc. The graphs given on the bottom left are an example
of culturomics which suggest different aspects of data analysis. The table clearly shows how culturomics
is guided by cultural phenomena such as feminism and also linguistic changes such as changes in lexicon
and grammar. These results highlight how culturomics methods might complement existing historical
approaches. More examples like detecting censorship, the period of fame are discussed in Michel s
article. Let us conclude today's module by talking about one more but an important practice in digital
humanities that is text analysis and visualization. Text visualizations often present the results of text
mining analysis, making patterns and relationships more apparent. Text analysis identifies patterns of
word usage by particular authors which is a field called stylistics. Computers use algorithms not only to
find patterns but also to count patterns and compare counts. A word cloud is a visual representation of
text data in which words are displayed in varying sizes and colors. The size of each word in the pictures
given corresponds to its frequency or importance within a given body of text. The frequency of words like
fashion, love, party will be higher in toy commercials for girls rather than boys. This reinforces other
semantic aspects like gender, age, culture, etc. Let us look at two examples of text visualizations. One is
Bradley Paley's TextArc and the other is the example of Knots interface of void tools. In the first example,
we find that Paley's TextArc shows words in Alice in Wonderland as text distributed across the perimeter
and then again by plotting each content word within the circle as if each occurrence in the perimeter pull
the terms towards it gravitationally. As a result, the location of the word conveys information about its
distribution in the document. For example, king and queen occur more in the last third of Alice in
Wonderland. In comparison, Knots represents lexical repetition by introducing a kink in a line every time a
selected term occurs. The more knotted a line, the greater the repetition. The image shows the Knots
visualization of the same text, Alice in Wonderland. Alice which is the most frequently used word forms a
knot near the middle while mouse shoots off to the right. Visualizations make use of a visual grammar just
as language requires a linguistic grammar. We need to be able to resolve what we see before attempting
to analyze and understand it. Considering how digital humanities deconstruct the authority of traditional
textual analysis, it also becomes important to understand that it poses some significant challenges. In
conclusion, let us say that it remains a persistent fallacy to ascribe to the computer a capacity to reach
beyond human particularities and into the realm of objectivity. So, digital humanities which works at the
intersection of technology and the humanities leverages computational tools and methodologies to
analyze, interpret and engage with cultural, historical and literary materials in innovative ways. It
harnesses the power of digital technology and through it scholars in this area are able to uncover new
insights, facilitate collaborative research and democratize access to cultural heritage. This rapidly evolving
field continues to shape the way we explore and understand the complexities of human culture and
knowledge in the digital age. In the next module, we will further explore the realm of digital humanities by
analyzing digital quantifications and visualizations of literary styles.

DH has generated the shift in reading practices leading to a democratization and curation of knowledge.
Today, we will focus on DH and literary studies. We will look at a range of approaches for the digital
quantification of literary style using visualization techniques to understand new ways of conceiving
narratives, digital approaches to literary geography and what the continued presence of digital methods
might mean for literary studies today. In short, we will be talking about what constitutes literary data and
what is the role of the literary , within quotes, in the digital humanities. However, before discussing it, it is
important to understand the origin and development of the digital humanities. It will help us in exploring
how technology can be leveraged to advance humanistic inquiry. The origin of DH reaches back to the
1930s and 1940s. Italian Jesuit scholar and philosopher Roberto Busa is known for his pioneering work in
this field. Roberto Busa had received certain funding and also technological collaboration with the help of
IBM and he had created the Index Thomisticus project. It was the world's first sizable machine readable
corpus that contained an index verborum of the writings by and about Thomas Aquinas. In all, it had
contained 137 pieces of writings. The canonical term digital humanities emerged and developed from its
competing alternative that is, Humanities Computing. The latter is restricted to the application of
computers in humanities scholarship and had narrower technical goals while the digital humanities as a
term incorporated a humanities of the digital including the study of digitally created sources such as art
and literature. DH is profoundly multidisciplinary. It attracts contributions from scholars and scientists both
within and outside the humanities. Digital humanities is profoundly multidisciplinary. It attracts
contributions from scholars and scientists both within and outside the humanities as well as the
humanistic social sciences. Digital humanities have taken care to define themselves in an inclusive rather
than an exclusive manner. The 1990s were a pivotal period for it. The advent of the world wide web and
the availability of powerful personal computers opened up new possibilities for the digitization and
analysis of human data. Projects like Perseus Digital Library or the William Blake archive which we have
discussed in the previous modules serve as examples for this. The Text Encoding Initiative, TEI founded
in 1987 developed a standard for decoding texts in a machine readable format. Although historically the
digital humanities have been dominated by text oriented paradigms, the community is increasingly
engaging with multimodal research objects and methods. We can look at three different and specific turns,
the visual, the spatial and the sonic turn. The visual turn is to engage with large data sets and to represent
them in a visual manner. The spatial turn suggests the strategic use of digital mapping which is directed
towards graphic analysis of location, ownership and distribution within geographic boundaries. The sonic
turn represents the idea that the studies of sound are strongly linked to heritage and conservation often
focusing on capturing of the songs, music and sounds of our cultural environments. In the figure on the
right hand side of the slide, you can look at the examples of each one. An example of the visual aspect is
a DH initiative manuscript link that aims to construct virtual medieval libraries by collaborating with
collections around the world. The Geographic Information System or GIS technologies provide ways to
map and compare special data and online forums like Sounding Out provides space for publication, posts,
discussion and recordings. A particular point which we must notice is that in the digital humanities, the
traditional print publication forms are still there. They have not ceased to exist, but they are often
complemented and supported by electronic formats. Therefore, we can think of DH as the ways in which
digital world is impacting the ways in which we think about the text versus hypertext. This is what
Professor Rahul Krishna Gairola of the Department of Postcolonial Studies and Digital Humanities at
Murdoch University, Australia explains in his following video. From Perth, Western Australia, my name is
Dr. Rahul Krishna Gairola and I am the Krishna Somers Senior Lecturer in English and Postcolonial
Studies at Murdoch University here in Australia. I'm delighted today to be joining you from here all the way
to Roorkee to talk a little bit about the meaning of digital humanities. Now, the digital humanities, it's
debatable how long it's been around. Some would say that it goes back as far as into the 1940s when IBM
was working with the Nazis to create the punch card system that would lead to the extermination of over
a million Jews during World War II. Some people see digital humanities as a more recent phenomenon
and what I would say is that the digitization and mechanization of human life has been a defining aspect
of our generation since, well before my generation even, the previous generation, since World War II
because we saw a lot of mechanization and the invention of certain weapons and chemicals that we've
never seen before. This is also true in terms of the explosion of technology around not just warfare but
also technologies of erasing life from Earth. That said, we could roughly say that the digital humanities
has arisen in academia as a field in the past 15, 20 years and there are some very important texts that
define digital humanities. Perhaps the most, one of the most important ones is this one, Defining Digital
Humanities, a Reader, and it makes, it offers us many different definitions for what the digital humanities
is and why it's important. A more recent volume is from 2018 and it is Disrupting the Digital Humanities
and it actually challenges the kinds of ways in which we've thought about digital humanities in the
dominant sense. More recently there have been new articulations of the digital humanities, for example,
post-colonial digital humanities and queer digital humanities and these are all different ways of thinking
about how various lenses of identity force us to rethink the meaning of human agency in the digital milieu
and the ways in which technology is shaping human life and even more so now that we've come out of a
three-year global pandemic. In terms of my own definition, which is something that students and
colleagues and professors all over the world ask me, how would I define digital humanities? Well, if we
just look at the two terms, the first term is digital, the second term is the humanities, therefore for me the
way in which I would define the digital humanities is the ways in which the digital world is impacting and
reshaping the ways in which we think of the traditional humanities and for English majors the ways we
even think about the text versus the hypertext and conversely the ways in which the humanities is
impacting the digital world and in that sense it's a synergistic and mutual reciprocal relationship wherein
the digital is impacting the ways we think about what is human and what is human is indeed impacting the
ways in which we think about the digital. Now nowhere is this more evident today than in the current
arguments and debates about the use of AI or chat GPT, ongoing anxieties that people have that robots
will continue to take human jobs and ongoing arguments against this that there are some jobs that robots
and AI simply cannot fulfill because they lack the empathy, compassion, and emotions and indeed EQ,
emotional intelligence, that human beings have. I hope that was helpful for a first definition of digital
humanities and in the next short video I will offer a definition of post-colonial digital humanities. Thank you
for listening. While the origin of digital humanities can be traced back to the mid-20th century it has
significantly evolved over the years and found particular resonance in fields like literary studies where
scholars employ computational techniques for distant reading and other innovative approaches to analyze
and interpret texts. The study of literature with the aid of computers is undoubtedly controversial.
Proponents of DH have explicated the possibilities for broad scale literary analysis which extends beyond
the limitations of readings made by the finite human lifespan. They also attempt to better understand the
genres and forms through visualization and spatialization. They also focus on fresh perspectives and
methods which might be important for rethinking core theoretical assumptions about literature itself.
Within DH and literary studies a notable methodology that has gained prominence is known as Distant
Reading, that is a computational approach to literary analysis that allows scholars to examine large
corpora of texts for patterns and trends. This term was coined by Franco Moretti. It refers to the method of
literary analysis that involves the analysis of extensive corpora of texts using computational tools and
techniques. It often involves examining texts in their historical and geographical context and focuses on
the macroscopic view of literature which involves the recognition that literary history is not an exhausted
well-mapped field but is still an uncharted expanse. This approach is helpful in revealing broader cultural
and societal trends. Moretti claims that within the plot and the soliloquies of Hamlet, for example, specific
nodes make visible specific regions which further enable experimentation. To further elaborate the
importance of distant reading, Moretti gives the example of Victorian fiction. We might know George Eliot
from George Meredith but what about the 60,000 other novels of the 19th century that did not make it to
the canon of Victorian fiction. And this is where distant reading proves its functionality. It expands the
sample size of texts through macro analysis. Moretti has used the phrase Slaughterhouse Of Literature as
a metaphor to describe this process of analysis. So, Franco Moretti's slaughterhouse of literature is
basically a metaphor which is used to describe the process of systematically analyzing a large corpus of
literature for the purpose of extracting broader patterns and insights using computational methods. He
has developed a coding scheme to describe the role of clues in detective fiction. He read a sample of 20
stories taking notes on the presence or absence of each aspect of clues in order to sort the stories into a
tree and to map the genesis of detective fiction. He illustrates it further by analyzing the different
bifurcations which are visible. The first bifurcation occurs when the rivals of Arthur Conan Doyle use no
clues at all and all these writers are completely forgotten. The second bifurcation occurs when readers
must have discovered clues and writers must have understood that these curious details were popular.
However, some writers like Boothby and Hume, however, some writers like Boothby and Hume place
clues with no function and necessity. The third bifurcation occurs when clues are present. They have a
function but are not visible in the course of the story and we lose rivals like Pirkis, Bodken and Groller.
The fourth bifurcation occurs when clues are decodable by the reader also. It is very interesting to note
that based on the use of clues in these stories, most of the detective novels of Doyle do not make it up to
the fourth bifurcation. Distant reading allows us to understand that Doyle proceeds by a method of trial
and error and that he stumbled upon the clues while he was working at something different. Doyle uses
these clues as a support for Sherlock Holmes omniscience. Moretti's distant reading has had a significant
impact in shaping how scholars approach literature from a computational and quantitative perspective. But
when it comes to stylometric analysis or the study of authorship attribution, it is Matthew Jockers
methodology of macro analysis that is widely used. Jocker's idea of micro analytic approach helps us to
see and understand the options of a larger literary economy and the degree to which literature in the
individual author respond to or react against literary and cultural traits. Macro analysis offers a specific
insights into the historical place of texts and authors, literary patterns and lexicons employed over time,
the cultural and societal forces that impact literary style in the waxing and waning of literary schemes. It
also provides a practical method for approaching questions on whether literature is evolutionary, whether
there are stylistic patterns inherent to particular genres or whether literary trends correlate with historical
events. At its most basic, macro analytic approach is a method of gathering bits of information that may
have escaped our attention because of the sheer multitude of texts out there. Let us look at an example of
macro analysis of literary theme in the American writer Herman Melville's famous 1851 novel Moby Dick
and how Jockers regards it as an outlier by examining a corpus of almost 3500 19th century novels
through computational methods. Two most important things we have to look out for here are topic
modelling and word cloud, which we have already discussed in the previous module. Topic models
provide ways to analyze large volumes of unlabeled text. Using contextual clues, it can connect words
with similar meanings and distinguish between uses of words with multiple meanings. The topics in a
given collection of texts are not provided as a set of themes, but rather as a set of words which are ranked
or weighed according to their probabilities of appearing together in a given topic. Jockers visualizes topic
word distribution as word clouds to derive the keywords of Moby Dick that are central to the topic. The
keywords are labeled as the top 10 topics in Moby Dick. For example, the presence of topic seas and
whaling , a theme dealing with islands and sea voyages is prominent in Moby Dick. This is followed by
topics like boats and ships that deal with themes like captains and crews. The darker gray bars in the
diagram represent a corpus of 3500 19th century themes of novels that are barely noticeable. This proves
how Moby Dick was an outlier in terms of the themes that dominate this 19th century corpus. If you look at
the top 10 topics from the overall corpus given on the right hand side of the diagram on the slide with the
exception of themes associated with morning and night , the themes that dominate the overall corpus are
completely foreign to Moby Dick. Making it an outlier in terms of themes that dominate the 19th century
corpus. This also explains the reason why the novel was not very well received at the time of its
publication. We will look at one more aspect from Jockers macro analysis which is literary influence.
Whether consciously influenced by a predecessor or not, every book is in some sense connected to those
before it through a shared pool of stylistic and thematic material. Before we look further into the macro
analysis of literary influence, we must also understand the difference which is there between nodes and
edges. Nodes are the individual books and edges are the distance between them circulated with the
Euclidean metric. Nodes with the smaller distance are more similar and more closely connected. So, let
us look at the first diagram. The book nodes are colored according to the publication year of the books.
The lighter gray nodes indicate work from the earlier parts of the century and the darker nodes represent
the later. Books are being pulled together based on the similarity of their compound stylistic and thematic
distances from each other. Interestingly, they also line up in a chronological alignment that reveals the
thematic and stylistic change which occurs over the time. If we look at the second figure, we find that the
network layout is reshaded according to author gender in the 19th century novels. Male nodes and edges
are colored lighter gray whereas female nodes are black. Works by female authors are more stylistically
and thematically similar to each other and they cluster together in the south. Males are drawn together in
the north. Three outlier communities are also visible. The outlier community at the lower right corner
belongs to books authored by Margaret Oliphant who has a unique stylistic signal which is unusual both
within her gender and to the network as a whole. A clear boundary thus can be seen which divides the
network into male and female regions. At the same time, we find that there are male authors who have
been placed firmly within the female dominated regions of the graph and vice versa. Thus, computer
visualizations help us to verify the claims made by digital and quantitative scholarship. David McClure, the
technical director of the Stanford Literary Lab delineates how the distribution of words inside a text can
have a strong thematic focus using kernel density as thematic metric. In his 2014 work, (Mental) Maps of
Texts, David McClure delineates how words are distributed inside texts. The distribution of certain words
can have a strong semantic focus and they tend to hang together with other words that orbit around a
shared topic. He also explains that the type of clustering where words tend to gravitate around a central
point can be captured in a kernel density estimate metric. He notes how words are distributed in clusters
over War and Peace . Algorithm manages to cluster portions of the narrative together in terms that make
sense for the plot based on linguistic similitude. Napoleon is the man winning battles appears along the
gradient between battles and history. Bonaparte, representative of the Russian imagination of the man
appears along the gradient between war and peace. This plotting is a type of deformance that forms the
structural thematic outline of the novel. This plotting has been termed as deformance. Why? Because it
deforms the original text into a now reshaped one. Another area where we can use computational
visualization is in the version variance of contemporary fiction. Variance in different versions goes
unremarked until academic work catches on. Let us look at David Mitchell's novel Cloud Atlas to
understand how visualization plays its role to understand the textual variance. Cloud Atlas has two
versions, the UK's Sceptre edition and the USA Random House edition. When we compare the textual
variations of these two versions, we find that most of the changes primarily occur in the section titled An
Origin of Sonmi 451, which is an interview with a death penalty convict in a standard question answer
format. Visualization helps us to understand how the novel has been reordered and how the text has been
moved around, cut and edited in the two versions. This type of diagram consisting of pathways is called a
Sankey diagram. The column on the left represents the UK Sceptre edition and that on the right is the US
Random House version. Joint lines between the editions represent contiguous blocks of consistent and
shared material. The white space represents instances where there is no correlative block in one or the
other of the texts. For example, it is given in the UK edition, how did you respond and in the USA the text
reads, how did you respond to such blasphemous hubris. These two pieces of text do the same thing in
terms of narrative progression and so are marked as functionally equivalent. Digital humanities practices
have often become involved in ideas of mapping with respect to literary and historical texts. Digital
mapping approaches like the Geographic Information Systems or GIS and allows for deeper
understanding of the chronologies in literary texts. The model of literary analysis that drew particular
attention to the spatial practices in literature and reading maps of literary cartography came to be called
as geocriticism. Digital humanities use GIS to map out quantitative data and to visualize and interpret
geographical research. Cooper and Gregory in their article, Mapping the English Lake District: A Literary
GIS, subdivide the practice of literary cartography into two principal categories, writerly mapping and
readerly mapping. Writerly mapping refers to the ways in which an author explicitly explores the
relationship between cartography and textuality. Readerly mapping denotes the ways in which an
individual may recalibrate this relationship between textual and cartographic representations of
geographical spaces through the reading process. GIS clearly intersects with readerly mapping where the
individual reader can move between the cartographic and textual representations of space that have been
brought together by the writer. Such phenomenological approaches to space emphasize how subjective
embeddedness in space contributes to its construction. Mapping the Lakes Project maps the Lake District
of the English Poets Thomas Gray and Coleridge and highlights many of the advantages of working with
the GIS. This project has been funded by the British Academy and hosted at the University of Lancaster. It
attempts to map the Lake District of the English Poets particularly with reference to Thomas Gray and S.
T. Coleridge. It maps out two textual accounts of journeys through the Lake District. Gray's tour of the
region in the autumn of 1769 and Coleridge's tour of the area in August 1802. The entire project aimed to
construct a spatial narrative by inviting the user to move through a series of experimental and exploratory
cartographies. To use GIS maps to document the representation of place across multiple texts and map
out the emotional response to landscape. Gray's 1769 tour documents a type of spatial mobilities of a
tourist whereas Coleridge demonstrates a socio-spatial insiderness that informs his walking tour. Such an
inference was taken by assembling the geographical data and then recombining with the already known
biographical accounts of Gray and Coleridge. Let us look at Mark Blacklock's 2015 novel I am Jack that
uses cartography and geographic coordinate systems in the same way associated with digital humanities.
I m Jack is primarily a novel about impersonation. The protagonist Humble, dubbed as Wearside Jack,
sent three letters to the West Yorkshire police and the Daily Mirror impersonated as Peter Sutciffe or the
Yorkshire Ripper. Digital mapping helps to unearth the spatial metadata from Humble's letter. Various
geometries, points of the address and time signatures of the events in the novel prove why Humble's hoax
was so powerful. So, we can look at metadata coordination of the letters of Wearside Jack. The shaded
polygon represents the area in which Peter Sutcliffe was operating. Letters were sent by Humble to the
two circles within the area of Sutcliffe's crime from a place called Sunderland. But the letters were sent
from a triangulated portion some 100 miles of north. It is this reverse triangulation that threw detectives
off the case of the Yorkshire Ripper allowing him to roam free. The intersection of literature, geography,
cartography and digital humanities have become increasingly complex. In addition to understanding these
concepts, it also becomes important to understand the social forces with which a map is bound with and
this entails what we call as critical cartography. In this slide, let us look at three terms. The first is literary
geography, the second is literary cartography and the third is critical cartography. Literary geography
demonstrates that spatial dimensions of fictional accounts set along a scale of localizations can actually
be a key to understanding the whole plot and it relates only to the reader. Literary cartography is a sub-
discipline to literary geography where special elements of fictional texts are translated into cartographic
symbols and it concerns the writer only as a map maker. Critical cartography involves a paradigm shift
from trusting the map to mistrusting it. It shifts the focus from the map itself to the social forces with which
it is bound up. It also aligns with the spatiality of the postmodern where globalization and forces of
capitalism come into force. The geopolitical organization and disruptions in the post-war era called
attention to this political essence of geography, but how are we able to map literary text especially those
representing fictional realms? Let us analyze this through the project chronotopic cartographies. This
project is based on the famous Russian literary critic Mikhail Bakhtin's idea of chronotope. Chronotopic
cartographies is a project by Sally Bushel. It was conducted between 2017 to 2020. It investigated how we
can use digital tools to analyze map and visualizes the spaces of literary texts. It draws on the literary
theorist Bakhtin's concept of the chronotope which is a way of describing how time and place are linked
and represented in different spatial forms of literature. The project focuses on five spatial types,
correspondent places, indefinite spaces, nested worlds, fantastic worlds and spaces of exile. It is a
custom XML schema designed to capture the qualitative linguistic and narratological aspects of literary
spaces and temporalities. Let us take the example of the special type. Correspondent spaces are
visualized in Virginia Woolf's To The Lighthouse also. Bushel analyzes three realms, the complete map or
syuzhet which is the narrative order of the story. Second is the topoi which suggests the recurring themes
and finally chronotopes. So, visualization of Woolf's novel belongs to the spatial type of correspondent
places. This group of texts contains worlds that can be referenced geographically and historically to real
world spaces and Bakhtin has defined these as concrete. The syuzhet registers the underlying spatiality
of the three parts of the novel, the window, time passes and the lighthouse. The window and the
lighthouse are connected by the horizontal line of time which is made visible as a corridor to us. The
middle parts topoi are joined by jumps, interruptions and intra textual connections that imply the
prominence of time over space. This all speaks for the telling of the tale. The narrative abruptly shifts
amongst multiple perspectives. Overall the narrative form can be termed as a cyclical one. This shows that
different spaces hold different values depending on which subjective consciousness the narrator is
depicting at the moment. These spaces and chronotopes correspond to the book's narrative method of
depicting the merging and flowing and creating of consciousness. One of the most basic things that we do
with computational techniques is to analyze various linguistic patterns and other idiosyncrasies in a body
of text. A set of a stylometric techniques can help us to understand how authors style change over time
and how to determine the likely authorship of a text when the authorship is uncertain. Computational
stylometry is the use of computers to measure the stylistic properties of texts. It is used for genre
classification, diachronic linguistics, literary analysis and authorship attribution. Stylometry is often
employed to identify or confirm the authorship of texts especially in cases where authorship is uncertain
or disputed. Sentiment analysis techniques are used in conjunction with a stylometry to study the
emotional tone and mood conveyed in texts. This is particularly used when dealing with large data sets
where manual categorization would be impractical. Most of the topics that we have discussed today
whether macro analysis or distant reading correspond to one or the other aspects of stylometry.
Stylometry risks on many assumptions and formal aesthetics which cannot be covered over the course of
this module today. However, we will discuss the concept of the stylometric approaches further, look at its
applications and examples in the coming module. We can say that the digital approaches to literary
studies often reintroduce empiricism to the heart of literary scholarship. It brings us back from the brink of
elaborate theorization and argumentation to a focus on the text itself. Such methods have been united
under the term of descriptive criticism which includes on the one hand surface reading and on the other
hand distant reading and computational analysis. Computational approaches afford us alienation
mechanisms that can allow us to understand literary works in greater detail. These methods can show us
the longer scale literary histories within which individual works are situated and their invisible functions. In
the next module, we will continue our discussion of stylometric analysis. We will also look into critical
digital humanities as an interdisciplinary approach within the field of digital humanities, critiquing the
assumptions, values and power structures embedded in digital technologies and their applications also.

Today, we will look further into stylometric analysis and the premises upon which it rests. We shall also
look at its application to certain works and discuss how algorithms used in DH projects produce
universalist notions of the human, the formation of postcolonial studies and digital humanities. Digital
humanities are important today as they can interfere in knowledge production in the digital age and the
role of colonial violence in the development of digital archives. Stylometry as a quantifying activity has a
long and varied history. It also has some role in legal court cases where the accused had been acquitted
on the basis of stylometric evidence. Let us try to look at its definitions first. Stylometry is an algorithmic
development for the statistical analysis of literary style. Stylometry has been extensively used by the
American statisticians Frederick Mosteller and David Wallace in the study of the Federalist Papers to
identify the authorship, linguistic patterns and writing systems of its authors. Federalist Papers was a
series of 85 essays written by Alexander Hamilton, James Madison and John Jay under the pseudonym,
Publius. Stylometric analysis rests on the assumptions that authors have a stylistic naturalism. Stylometry
measures subconsciously inscribed features of a text. Authorship is the underlying textual feature that can
be ascertained by the study of quantified formal aesthetics. It works with the assumption that authors have
an unconscious aspect to their style that cannot be consciously manipulated but which possesses
quantifiable and distinctive features. Stylometric authorship attribution can also sometimes lead to
disastrous failures of course. Don Foster attributed the poem, A Funeral Elegy to William Shakespeare
using a raft of stylometric approaches. When Foster refused to accept arguments against his attribution,
a stylometric work by multiple other scholars pointed to the 17th century playwright and poet John Ford as
the most likely author of the poem. Let us take an example of how a stylometric analysis was used to
understand the style of the American author Henry James and to distinguish his novels from his
contemporaries. The technique of Cluster Analysis groups novels or for that matter any other works based
on the similarities and differences of the frequencies of the most frequently used words. The novels of
Henry James form one of two main clusters reflecting the distinctives of his style. Chronological stylometry
was used to document the development of his style. A delta analysis which is a measure of textual
differences was conducted which treated early intermediate and late works of Henry James as that of by
three different authors. Roderick Hudson, The Bostonians and The Ambassadors have been chosen as
representatives of the three phases based on their publication dates and similar size. Hoover feels that
James did have a style. Also, the stylistic differences between his novels of the 1870s and those written
after 1900s are definitely extreme. Citing R.W. Short, he comments that his syntactic distortions often
obliterate the normal elements of connection and cohesion. Grammatically speaking, his meanings float
untethered but they also make his later work more connotative in a different sense. The chronological
characterization of James vocabulary was documented in his early intermediate and late novels. Zeta and
Lota, the stylometric measures that focus attention on works that are characteristic of an author were
used. Zeta identifies characteristic words of moderate frequency whereas Lota identifies characteristic
words of low frequency. There was significant difference between early and late styles as James became
more interested in the psychological landscape and the social scene of his novels rather than the physical
settings. The modern phase of a stylometry has now been changed by the influx of techniques from the
domains of computer science and artificial intelligence. Pattern recognition has become one of the central
focus of a stylometry. It uses AI techniques like neural networks in most cases of disputed authorship
where the discriminating pattern is unknown and possibly difficult to recognize. The initial works involving
neural networks with the stylometry were papers based on the dramatists. Controversies about
Shakespeare versus Fletcher and Shakespeare versus Christopher Marlowe were taken up. It was the
papers of Robert Matthews and Thomas Merriam that looked at these controversies using neural network
stylometry about the place associated with both set of authors. Neural networks have the ability to
recognize the underlying organization of data which is vital for pattern recognition problems. A neural
network needs to be trained on patterns known as training set to distinguish between two authors before it
can attempt to classify unknown texts. Two sets each of five discriminators were used as inputs an
example being values of the ratio of words upon. The network was then trained to recognize the works of
both Shakespeare and Fletcher from their core canons. In order to solve the mystery of the authorship of
the play, The Two Noble Kinsmen, the network added quantitative support to the viewpoint of traditional
literary scholarship that the play was a genuine collaboration between the two playwrights. In the
Shakespeare Marlowe controversy, the network was trained to discriminate between the works of the
playwrights and based on its suggestion, the anonymous play Edward III was found to be written by
Shakespeare under considerable influence from Marlowe. The authorship of Double Falsehood a play by
Lewis Theobald has also been contested whether it might have been written by Shakespeare or Fletcher.
Researchers quantify the complexity of their language to identify the play as the work of William
Shakespeare. Like neural networks, genetic algorithms also use stylometry as part of pattern recognition.
Genetic algorithms learn by generating a large number of syntactically valid, but semantically meaningless
rules. The same method was used to determine the probable Italian author who goes under the
pseudonym Elena Ferrante, writer of the highly acclaimed Ferrante corpus or the Neapolitan novels. For
this project, eight books written by Elena Ferrante were chosen to decide on the style. Domenico
Starnone regularly appears as one of the possible authors of the Ferrante corpus. Seven books of Luca
have also been added for the comparison to the books of Ferrante and Starnone. Stylometric analysis of
the seven e-books of the Ferrante corpus in Italian was taken up and each symbol here represents the
whole or a fragment of a text of more than one lakh characters. The red shapes represent Ferrante's first
three novels and the blue shapes represent four volumes of Ferrante's tetralogy. The closer the points,
the more similar the style of the texts. So, with these diagrams and the analysis given against them, we
can make out that a stylometric text analysis is based on algorithms of data compression and research in
genomic analysis. These approaches are taken to identify the author specifically. These DH linguistic
analysis allow us to seriously consider that Domenico Starnone could be the author writing under the
pseudo name Elena Ferrante. His style is stylometrically close to hers. However, even though stylometry
has been widely used, it still requires better methods of visualizing and clarifying large scale stylistic
characteristics and changes. Corpus-based and computer-assisted methods will surely be at the center of
much of this work. It also becomes important to talk about the social developments that have facilitated
Digital Social Reading or DSR and the application of digital humanities methods to it. DSR refers to
shared reading experiences which happen either online or offline. It involves the use of digital technology
and media either for reading or for sharing experiences elicited by books. Manual coding brought out the
different emotional registers that reviews like Goodreads employ while sentiment analysis was used for
analysis at a larger scale. These analysis show what readers value in a text, metaphors for reading or the
ethical positions that readers take in processing controversial books. For example, several aspects of
evaluation as well as some political variables were manually coded and qualitatively analyzed in Kiran
Desai's The Inheritance of Loss. User reviews were found to be much more negative than professional
reviews. It might have happened like this because the book was targeted for a literary audience rather than
the popular one. DSR research is reader oriented. It focuses on the act of reading itself and not on the
interaction among readers, not on the digital reading platforms. It is the unprecedented access to the
reader's experience that matters. Let us take a case study of sentiment analysis on the online platform
Wattpad for reading and commenting on fiction. The case study was based on Wattpad commenting
practices using sentiment analysis. The goal of the project was to test if there is a match between the
emotions represented in the story and those perceived by readers. This was done by investigating the
progression of readers response to a story, linking the verbalization of emotional responses to particular
text passages. The graphs presented here plot the emotional valence of reader's response along the
progression of this story. A comparison of this story sentiment with the comment sentiment, it was
discovered that positive emotions in the story elicit positive utterances by the readers. The intervals where
the two sentiment values have extreme peaks or diverge allowed to identify text parts that trigger stronger
emotions contrasting with the story events. This provides a link between textual features and reader's
emotional response to stories. Such techniques allow a semi-automatic selection of text parts for critical
readings and further exploration of reader responses. Let us look at certain implications of digital
humanities. These include the critical analysis of the materiality of digital and computational technologies
in relation to power, embodiment and difference. While DH has grown, so too has a number of voices
making the case for attention to race, class, gender, sexuality and other forms of identity. That is, we have
to chart the ways in which intersectionality has been part of DH to ensure that it unsettles essentialist
categories rather than solidifying existing assumptions about categories of difference. Intersectional digital
humanities looks at the specificities of a data set. It identifies the layers of difference that intersect with it
and use that knowledge as a basis for project design. One of the early voices that advocated for a
theoretically intersectional approach to DH was Martha Nell Smith who proposes that we must take into
account the messy facts of authorship and production in terms of race, class, gender and sexuality. Areas
of difference as we know are fluid and converge in multiple ways. For example, Kara Keeling's Queer
Operating System would take socio-cultural phenomena like race, gender and ability to be mutually
constitutive with sexuality, media and information technologies. Therefore, design principles and technical
specifications should account for influences of difference in knowledge production. For example, the
considerations necessary for a project on black lesbian activism would be different from one on the oral
histories of Latina trans women. Let us consider how intersectional analysis can be engaged through text
mining to a large database of 20th century black drama to examine linguistic distinctiveness of gender,
race and nationality. The black stage has been an important locus for exploring the evolution of black
identity and self-representation in African diaspora countries. Using the data of black drama, machine
learning is used to isolate stylistic characteristics of authors and or characters having attributes like
gender, race and nationality as well as the degree to which they interact. This text mining helps us to trace
issues like the migration of black Americans from the rural south to northern cities. At the same time,
these lists also reveal the true difference among black American male and female authors. Racial epithets
used in these plays often in a derogatory manner reveal variations of language use based on gender and
nation and can also hint at larger discursive and representation issues. Let us look at intersectional
engagement in digital humanities through social media, digital archives and project designs. So, what are
the intersectional engagements in DH project? Jessica Johnson's The Codex is an example of
intersectional engagement in digital humanities. It consists of three sides or triptych, African diaspora
PhD, diaspora hypertext and seeing dark matter. The intersectional digital archive Amy Earhart's project
The 19th Century Concord examines the relationship between Concord, Massachusetts and American
literature and history. The Emory Women Writers Resource Project foregrounds intersectional approach
through the way it structures project data and it includes abolition, freedom and rights and women's
advocacy. Such projects are significant to trace the progress of the intersectionality in digital humanities.
In the writing and rewriting of these histories, DH practitioners must situate themselves within broader
discourses instead of reaffirming the power of western academic hegemony. Communicative practices in
cyberspace were pitched as a curative to racism because identity construction in digital spaces was seen
more as a performativity and this brings us to the concept of cyber race. Lisa Nakamura in her 2008
article titled Cyber Race talks about how digital space delineates race as a social performance. Cyber
race gets distinguished from real race by its anonymity, its variability and modularity and this places
cyberspace as postmodern because it permits fluidity of identities. The internet is seen as a post racial
space as it is possible to choose a race as our database of bodies, discourses, behaviors, images
resemble all database driven new media objects. However, post racial cosmopolitans refuse to turn
towards the political economy of digital culture and identities. Bodies must be viewed with technophilic,
informationalized societies and cyber race was shaped by the unequal access, limited forms of
representation in digital culture and images of race under globalization. Initially, the concept of a post
racial identity in cyberspace fed the desire for control over self-representation and self-construction.
Nakamura examines how race ambivalently surfaces as both a celebratory representation as well as a
white hegemonic target over internet. Let us now look at how DH as a discipline lends itself to literary and
cultural studies that reproduce ideals of race and perpetuated technological milieu that underscores its
material effects on non-white bodies. Let us look at how race in relation to digital humanities is defined by
white privilege and how it has institutionalized itself in a hegemonic manner by silencing alternate
histories. There is a need to critically examine the alternate spaces in the digital humanities space that
move beyond the normative ideas of hegemonic power structure of male whiteness. Gayatri Spivak has
identified this as an epistemic violence in which unequal power dynamics are perpetuated through the
production of knowledge that silences the other in colonial context and this can be a form of violence in
itself. Radhika Gajjala talks about how the internet poaches territorial metaphors from colonial imagery
and how humans interact with technology with a false consciousness that the digital commons is exempt
from racism, xenophobia and other forms of bigotry. Critics must address the issue that a racial bias is
encoded into the objective rationale of the computer. Let us look at an article by Safiya Umoja Noble who
talks about the ways in which Google reinforces hegemonic narratives and the ways in which it
discursively reflects hegemonic social power and racist as well as sexist biases. The study purports the
importance of a critical race theory perspective that decenters whiteness and maleness is the lens
through which results about black women are interpreted. Safiya Umoja Noble in her 2013 work Google
Search Hypervisibility As A Means Of Rendering Black Women And Girls Invisible points towards the
cultural hegemony within Google's results on racialized and gendered identities. She has talked about the
algorithm bias also about the hypervisibility of black women online. Google search engine results display
an algorithmic bias by misrepresenting identity in its commercial search and interest. It does not provide
social historical and contextual meaning to black women who have been historically marginalized and
have been portrayed in hypersexualized and racial ways. Cultural images and symbols inject dominant
social biases into search engine results by transmitting a coherent set of meanings that evolve historically.
The media misrepresentation of black women being associated with pornography are typically seen in
Google search results of black women which underscores the fetishization and racialization of black
women in the genre. Based on the so-called objective truth of Google search, black women serve
specifically as a deviant of sexuality when mapped in opposition to the bodies of white women. The
pictures given show one dominant narrative of black women called the Jezebel whore depicted in more
than 100 years of cultural artifacts. By foregrounding pornography as the most important kind of
information about black women as Google dated the 2011 ranking, these narratives are made more
meaningful. We co-construct content within the technology itself by clicking on links and through
hyperlinking websites. So, critical race theory and critical discourse analysis allow for a deeper reading of
what it means for identity to be in the dialectical tension between the struggles for social justice organized
around collective identities and the commercialization of such identities to self-ideologies. The narrative of
whiteness as normality, configures information technologies and software designs and is reproduced
through digital technologies. Google search results on black girls point to the commodified nature of black
women's bodies on the web and the little agency that black female children have had in securing non-
pornified narratives about their identities. It shows the visible representation of the ways in which black
girls as a sector of society are presented in the process of Google searches. The ideologies of color
blindness, portend, a non-racist worldview and multiculturalism that obscure social and structural
operation in computer and information sciences that are shaping technological practices. Keyword
searching reflects blacks and women's status online in the constructs of the internet. The internet is a
contested space that masks itself as a neutral communication environment, but in reality it privileges the
male pornographic gaze and marginalizes women as objects. Critical race theory perspective asks
questions about the quality and content of racial hierarchies and stereotyping that appear in results from
commercialized search engines like Google. Safiya Umoja Noble talks about how this expansion of
commercial control over information and identity deserves attention as identity markers like black girls are
for sale on the web to the highest bidder. It is because of these hierarchies forged through the internet
today that people and communities use digital technologies in ways that are influenced by their cultural
backgrounds, identities, and social context. This is what Radhika Gajjala, a scholar known for her work in
the field of digital media studies calls as technocultural agency. Radhika Gajjala defines technocultural
agency as a capacity of individuals and communities to actively shape and negotiate their experiences
with digital technologies within the broader framework of culture. It examines how voice in silence shape
online spaces in relation to offline actualities. How we become technocultural agents reveals how we are
placed and in turn how we place ourselves within and in relation to the cyberspace. It clearly shows how
our subjectivities are placed within unequal power relations manifested through the hierarchies of
literacies and connectivity and how technologies have repercussions not only within virtual spaces but
also in our offline lives. Let us take an example of the 2002 film Minority Report that racializes digital
information access and production by depicting scenes of white and male users experiencing direct
relations with computer interfaces while users of color are relegated to the background and are relatively
distant from technologically mediated relationships to their hardware and software. This film by Steven
Spielberg dramatizes the ways that the post-millennial social body has become an object of surveillance
via biometrics and crime databases. It envisions the future regulation of the criminal body as the work of
dataveillance and the gradual indoctrination of its white hero into this system s critique. The whole
destruction process is seen as a part of re-racialization that calls the notion of the whole or singularly
racialized body into question. The movie illustrates what the post-colonial theorist Paul Gilroy has called
as a crisis of racialogy and gendered by biotechnological revolution and how black and Asian bodies are
significant determinants in fixing the social optics of race as they are figured and imaged differently.
Surveillance maps the operation enabled by contemporary informational techniques that continues to
racially profile people but it projects an illusion of color blindness. Let us see how visualization techniques
in digital mapping projects portray the racism in the machine that is the ways in which our digital tools can
inadvertently recreate the latent racism and the cultural blind spots in our society. We will compare two
instances racial terror lynching maps and map of white supremacy mob violence in America. The first
map draws on the data set compiled by EJI for their report of 4075 racial terror lynchings of African
Americans and it is focused on the southeastern United States. The visual argument represented by color
schemes ranging from dark to bright red references the racial terror and the violence inflicted upon
African Americans in the region as well as the geopolitical arguments on white supremacy. The second
map discusses white supremacy mob violence. It is an interactive map based on the research of the
sociologist Monroe work who systematically documented incidents of violence in the United States. The
timeline provides a visual cue that racial superiority motivated occurred continually over a long time span.
These elements show a strong visual argument of how discourses of white supremacy have been
historically enforced through lynching and mob rights. However, in the grand scheme of racial violence
lynching represented only one small piece in a complex puzzle of institutional and structural racism. It is
important to understand that structural ways of racism and sexism specific to women, people of color and
other kinds of societal bias are encoded in algorithms. This is what Sophia Umoja Noble has termed as
algorithmic oppression or algorithms of oppression which we will discuss in the next module. In short,
there should be an intersectional internet infrastructure that resists the oppressive representations from
the neoliberal narratives of digital technologies. Neoliberal narratives of digital technologies and the
internet suggest that the web is a panacea for social liberation and empowerment, but these ideas are
refuted by critical theorists. The goal of theorizing an intersectional approach to the digital humanities will
heighten awareness of how the global communication infrastructure is not made equally and equitably to
all people. Intersectional analysis examine how digital technology intersects with socially constructed
categories like gender, class, race, sexuality, etce in a matrix of relations that create conditions of
inequality or oppression. In the next module, we will continue with intersectional digital humanities by
incorporating aspects of postcolonial DH and South Asian DH. It seeks to critically engage with issues of
colonialism, imperialism and their ongoing impacts on culture, identity and knowledge production in the
digital age.

Today, we will talk about postcolonial digital humanities, the geopolitical circumstances that have shaped
its trajectories and examine the role of colonial violence and its representations in digital archives.
Postcolonial digital humanities is rooted in a broader history of exchange between postcolonial thought in
science and technology studies. It interrogates the ongoing influences of colonialism and neo-colonialism
within the digital cultural records and knowledge production. It addresses unexplored questions of power
and globalization that are shaping the digital environment as well as decentering the role of the global
north in the appropriation of digital scholarly practices and narratives of technological development. The
term postcolonial digital humanities was coined by Adeline Koh and Roopika Risam and it was
disseminated through the twitter hashtag at DHpoco. Postcolonial approaches to DH look beyond the
politics of representation to develop design practices surrounding digital knowledge production. Its
interventions include a destabilization of the role of colonialist and neo-colonialist politics within the digital
cultural record. It wants to challenge the myth of democratized digital knowledge and to make the case for
the creation of new tools with ontological roots beyond the global north. It also wants to attend to the role
of labor in DH projects and addresses the hegemonic role of English language in DH scholarship. The
postcolonial studies entered academic discourse to challenge the foundations of humanistic inquiry that
validated and reinforced the right of Europe to colonize the world. It gained a foothold through the writings
of Edward Said as well as Gayatri Chakravorti Spivak who offered a radical critique of Eurocentrism
through their writings. Now postcolonial digital humanities looks at colonial and neo-colonial dynamics
subtending digital knowledge creation in the humanities. In doing so it is a product of the histories of
postcolonial studies and digital humanities. They are the two sub-fields that have emerged after the first
world war in response to a radically changing geopolitical and techno-cultural landscape. Scholars like
Gayatri Chakravorti Spivak and Aijaz Ahmed identify the process of worlding as the subordination of
worlds that are subject to colonial domination and the control over representation of the global south
whose citizens are considered subaltern through colonial discourse. Let us look at the ideas of Matthew
Kirschenbaum. The world making of programming is intimately linked to producing humanities knowledge.
Digital knowledge production selectively represents human knowledge and culture through a range of
interpretations and this creates a model world that is very different from the world we live in. Postcolonial
DH explores the practices needed to create new worlds that challenge the centrality of Europe by
engaging with the subaltern by placing them at the center of inquiry in DH scholarship. So, what do we
mean by decolonization within the area of digital humanities? Colonial violence appears in discursive
forms and this includes the reproduction of colonial influences on the production of knowledge in digital
form which also reinforces the ontologies of the global north. The idea of decolonization within DH wants
to oppose this continuation of exploitation and partial generation of digital knowledge. By mediating
between physical and virtual worlds, postcolonial DH calls attention to the dimensions of power in world
making through technology. This raises the question whether the digital texts are reproducing the
hegemonies of the colonial world and whether decolonization is possible. Let us listen to Professor Rahul
K. Gairola who teaches in the Department of Post-colonial Studies and Digital Humanities at Murdoch
University, Australia. He explains about the postcolonial turn in the area of DH. He is also the co-editor
with Roopika Risam for the 2021 work on South Asian Digital Humanities: Postcolonial Mediations Across
Technology s Cultural Canon. My name is Dr. Rahul Krishna Gairola and I am the Krishna Somers Senior
Lecturer in English and Postcolonial Literature at Murdoch University in Perth, Western Australia. I am
delighted to speak to you once more and let me briefly review the first two short talks I gave. In the first
talk, I briefly delineated my definition of the digital humanities which I have defined as the reciprocal
synergistic manner in which the digital impacts the humanistic fields on the one hand and on the other
hand the ways in which the humanistic fields impact upon digitality and thus this reciprocal relationship
produces a kind of new agency that is a fusion of the human and technology almost like a cyborg we
could think of it. In addition to that, I also gave a short talk that spoke about the need to put a postcolonial
lens over the digital humanities to expose the ways in which Western thought and culture and indeed
domination often has attended to the very formulation and birth or we could say genesis of this field of
studies and this is evident perhaps most strongly in the so-called genesis narrative that basically says that
the history of digital humanities is rooted in the work of a priest, an Italian priest called Father Roberto
Busa and his work with the IBM company in the 1940s. So, you know, in locating the genesis or birth of
digital humanities in the Western world, it just appears that we're in this familiar trope of the production of
knowledge and modernity and being up to date and contemporary. It's once again located in the West and
as I said before there's a very familiar trope that Edward Said critiques heavily in his book Orientalism.
From a postcolonial digital humanities viewpoint we have to look at the ways in which technology is
situated in the non-West in the so-called third world or the global South or the ways in which these other
spaces have erased or silenced these other histories and one important text that we should be aware of
when we're looking at the digital humanities is the new volume, well it's a few years old, Exploring Digital
Humanities in India: Pedagogies, Practices and Institutional Possibilities and this is a very important book
that looks at the ways in which digital humanities is being carried out in India. I'd also like to share two
other very important texts with you that I think are quite influential. The first is the Intersectional Internet
which uses Kimberle Crenshaw's notion of intersectionality to look at the ways in which we are
intersectional beings even in the digital milieu when we're online and in through the internet and the
second book which has been deeply influential to my own studies of digital humanities is Algorithms of
Oppression How Search Engines Reinforce Racism. This was authored by Safiya Umoja Noble who does
a brilliant job at saying and compelling us to ask ourselves why do we think that search engines like
Google are objective and they render the pure truth so to speak when we look something up. For example
when you look up something with the word ugly or black girls or Indian girls why do the certain hits and
images that pop up come up. So this is an exercise that I've encouraged all of you to think about maybe
jot down a few keywords put them into Google and see what kinds of hits you get and what kind of images
pop up and then crucially and critically ask yourself why. Thank you. Recovering unheard voices and
making them part of the digital cultural record is not only a matter of representation but also one of fully
realizing the interpretive possibilities of digital humanities. Postcolonial DH also attends to the structural
ways of racism and sexism specific to people of color and women and other kinds of societal bias that are
somehow encoded in algorithms. We have analyzed enough instances to understand that algorithms and
big data are never neutral or objective. This is what Safiya Umoja Noble has termed as algorithmic
oppression or algorithms of oppression. Noble has coined the term algorithmic oppression in her work
algorithms of oppression published in 2018. The term suggests a framework to critique the discourse of
the internet as a democratic landscape and to deploy alternative thinking about the practices instantiated
within commercial web search. Noble's main argument is that popular search engines like Google can
inadvertently amplify and reinforce existing prejudices particularly against the marginalized communities.
She draws on research about how race is constituted as a social, political and economic hierarchy based
on racial categories and how white American identity functions as the invisible norm. Noble provides
numerous examples in her book where search results can perpetuate harmful stereotypes and reinforce
discriminatory attitudes. Search engine results perpetuate particular narratives that reflect historically
uneven distributions of power in the society. She offers examples of how racial algorithmic oppression
works in Google search. In 2016, Google images offered African American teenagers mug shots when the
keywords three black teenagers were given. This insinuates the image of black teens with criminality.
Search results as artifacts have symbolic and material meaning. They deploy subjectivity and offers a
vantage point to understand that representation in media are expressions of power relations. Search
engines are limited to providing only information based on what is indexed within the network. It is about
who has access to provide information in the network that impacts whether information can be found to
anyone looking for it. The potency of commercial search using Google is that it functions as a dominant
symbol-system of society. It is because of its prominence as the most popular search engine nowadays.
Postcolonial DH can attend to the ways that existing digital archives bear traces of colonialism. For
example, Mae Cappozi and Scott Enderle's project, A Distant Reading of Empire, demonstrates the value
of digitized material for understanding the relationship between colonialism and textuality in the digital
cultural record. Their project, A Distant Reading of Empire use the HathiTrust digital library to create a
corpus of 2500 18th century text that had appeared between 1757 and 1795. A statistics based language
processing software called Mallet was used for topic modeling which is a form of text mining that groups
words in a corpus into topics. A 150 topic model was used to interpret the relationship between India and
Britain. Topic 114 is a topic regarding India. The words company , nabob and India are clear indicators of
the colonial relationship and the British interests in India. The topic model also shows a connection
between the North American colonies and India. The spike in the graph between 1765 and 1770
corresponds with the June 1767 Townshend duties imposed on the North American colonists on imports
like glass, paint and most importantly, tea which had resulted into what is known as Boston Tea Party in
American history. One significant dimension of postcolonial digital humanities is rethinking the role of
representation in digital archives and the design methods extending from it. Digital archives are often
heralded for their promise of openness and access to knowledge as well as creating spaces for counter
narratives. However, there are traces of colonial violence within these archives also. We can refer to the
work of Ann Laura Stoler who has delineated the need to read archives as technologies of colonialism as
there are consistencies of misinformation, omissions and mistakes along the archival grain. According to
the famous historian Ranajit Guha, archives are political distortions that interpolates colonial subjects as
irrational and in need of rule. The postcolonial digital archive critiques its relationship to imperial culture by
acknowledging its rootedness in imperial and colonial pasts. It is informed by an awareness of the
violence of imperial practices and settler colonialism and therefore, the postcolonial digital archive
attempts to repair the past by recovering colonized voices and deconstructing imperial values. It engages
with postcolonial and archival theories to reinterpret the colonial ideologies embedded in the archives
primary materials both through digital as well as critical frameworks. Decolonization happens when there
is an acknowledgement of the painful colonial violence and a desire to resist the further propagation of
the practices of the imperial archive. The decolonizing project can range from the creation of archives that
function as sites of resistance to those that purposefully preserve underrepresented voices and
recontextualize colonial material. Let us now look at postcolonial DH from the perspective of South Asian
studies to understand how South Asian voices have been marginalized and to understand the hegemony
of the canon of western male authors and the intersectionality of marginalization online. South Asia and its
diasporas are deeply implicated in techno spaces as South Asia is a site where technology has had an
embodied impact on its history as well as contemporary culture. Diasporas demonstrate the power, vitality
and complexity of South Asian techno spaces. The connectivity of migrants in digital diasporas is
characterized by their use of internet and social networking applications. South Asian digital humanities
interrogates the influences of colonialism that have marginalized the South Asian voices and diasporic
communities. The intersectionality of these marginalizations and the totalizing impulses of algorithms that
institutionalize racism and xenophobia. Skewed power relations and transnational capitalism that exist in
South Asian and other postcolonial nations testify the ongoing struggle for their representation within
digital milieus and digital knowledge production. Cyberspace constitutes an important new space for the
subaltern. This is because cybercultures are extensions of existing social and cultural practices. Digital
technologies are embedded in the cultures that produce them and cyberspace itself might be read as a
set of social practices which has exclusionary and inclusionary potential depending on the politics of use.
Before we move on to digital humanities practices in the South Asian context, it is important to look at
techno culture. This transnational global activism can create linkages with other histories of oppression
like that of the African Americans. The persistence of colonial structures in digital age is still huge. To
demonstrate this, let us look at the Rushdie digital archive or RDA which is the collection of author
Salman Rushdie's work at Emory University. It drew attention not only for its famous author, but also for
the innovative creation of a virtualized representation of the author's computer known as emulation. The
archive is placed in dialogue with a set of ideological assumptions and in the context of colonial and post-
colonial archives. The RDA encompasses Rushdie's computers, CD-ROMs and floppy disks along with
specialized tools for accessing this material. The emulation software replicates Rushdie's old computer's
hardware by allowing a newer system to imitate its appearance and capabilities. Drawing on Spivak's
interpretation of the colonial archive which challenges notions of fixity and stability, the RDA through this
emulation software engages in a form of colonial mimicry also. The guiding principle behind this emulation
is that understanding the collection requires considering the context which cannot be fully comprehended
by selectively examining individual files and that it offers authenticity. This shared desire for authenticity
also echoes Homi Bhabha's idea of mimicry, colonial desire for the colonized subject to emulate and
resemble the colonizer. However, this mimicry is never an exact replica. It involves a subtle slippage or
difference between the original and the copy. This can lead to ironic mockery challenging the authority of
the colonizer. Similarly, the emulation software mimics the older computer environment, but it is not an
exact replica. Furthermore, just as colonial mimicry can lead to ironic mockery and challenge colonial
authority, the imperfections and partial presences introduced by emulation software in the RDA can lead
to critical readings and insights. For example, the Mac Stickies color coding practice offers a unique view
of Rushdie's thinking on a particular day. Moreover, the evolution of word processors reflects Rushdie's
evolving identity, marking distinct phases in his life and career. It is interesting to note that Indian fiction
incorporates machine reading in the narrative. One such example is the Indian postcolonial writer Amitav
Ghosh's The Calcutta chromosome. The text interest in both electronic textuality and the subaltern archive
shows how the concept of information retrieval pervades the novel. The narrative is assembled through
the recovery of textual artifact with the aid of a comprehensive digital archive called Ava. Amitav Ghosh's
1995 novel The Calcutta Chromosome delves into themes of digital archiving and digital forensics central
to the digital humanities. Matthew Kirschenbaum used concept of digital forensics involves applying
investigative techniques to retrieve, analyze, and understand digital information. The narrative is
constructed through the retrieval of textual fragments using a comprehensive digital archive named Ava,
a character that embodies both an archive and an artificial intelligence. The narrative is woven together
from fragments found within the gaps and omissions of the archive incorporating various forms of colonial
modernism and vernacular literature. The representation of vernacular literature, particularly through the
character of Phulboni, challenges its status within the electronic text archive positioning it as a valuable
data. Digital forensics becomes pivotal as the character Antar discovers a deleted email from Murugan
that potentially holds the key to understanding his disappearance. To achieve this, Ava must sift through
the stored memories on Murugan's outdated hard drives and this process is likened to KirschenBaum's
forensics imagination. The novel suggests that the perspective needed to comprehend the assembled
narratives requires new reading technologies which are envisioned as a future digital archive with vast
storage capabilities. This allows the reader like Antar to gain a posthuman perspective. We looked at a
brief caricature of how the digital afterlives of colonialism shaped the formation of the digital cultural
record and in turn the cultural memory of humanity. Bichitra: Online Tagore Variarum is an archive project
taken up by Jadavpur University India. This project has served to cut across boundaries of various
aesthetic notions. It is an online integrated knowledge site of Rabindranath Tagore's works. Tagore as we
all know is the first Asian Nobel laureate. Reading closely through the different versions one can trace not
only his complex creative process but also a glimpse of the changing socio-political landscape of India
through the 19th and early 20th centuries and the author's intellectual response to it. So, this virtual
archive contains all the works and variant readings of the texts of Rabindranath Tagore. The three major
tools that Bichitra provides for a user researcher are images and transcription, hyperbibliography and
search engine. So, there is a page wise transcription with the image of the manuscript. The
hyperbibliography of Tagore's English poems and songs is indexed according to the genre and hyper
concordance enables us to draw metadata by citing the genre, title, chapter of a novel or a play, collection
or name etc. Indian literature especially graphic novels also demonstrate the trajectories of digital
cultures in the South Asian context. The graphic novel is an alternative hybrid form of storytelling which
combines art and writing. Indian graphic novels involve the representation of histories, socio-cultural
spaces and cultural stances on social issues. Indian graphic novels digital turn can also be looked at as a
representation of globalization as the Indian material is being transformed by the western technology
rendering it easily consumable by an international audience. The Harappa files published in 2011 by
Sarnath Banerjee is a fictitious story set in the urban locality that showcases everyday instances and it
also invokes a postmodern identity by using a psychoverbal language, fragmented narration and authentic
portrayals of the cultural degeneration, globalization and the loopholes in the nation's governance.
Bhimayana: Experiences of Untouchability published in 2011 by Srividya Natarajan and S. Anand is
based on the life of Dr. B. R. Ambedkar. It introduces its readers to the larger social history of segregation
based on caste. Technological artifacts like computer have impacted the corpus of post-independence
Indian English novels. The emergence of new publication houses, digital spaces and technology are
increasingly becoming the ones where human knowledge is produced and amplified. The increase in the
number of literary awards and the rise in literary rate also had to do with the widespread acceptance of
technologies after independence of India. So, it becomes very important to know that exclusions and
biases that have characterized print culture in the colonial days are reproduced in the digital cultural
record also in the postcolonial days of our country. Let us now look at how Indian writing in English had a
substantial influence in the marketplace with the help of digital born content. Postcolonial authors
deliberately or unknowingly incorporate the exotic in their work and this somehow was established as a
theoretical framework which is still considered relevant today in describing the diasporic literature,
particularly novels. For example, yearning for an irretrievable imaginary homeland, the discourse of
homelessness and displacement etc. However, minor genres present valuable critical opportunities,
particularly for considering digital born content of Indian writers in English such as blogs and social media
posts that directly relate to their published work. And therefore, it is crucial to recognize that epitexts exist
anywhere outside the book and encompasses a range of discourses with functions extending beyond
mere paratextual presentation and commentary. Digital born content has the potential to expand access
to the established market for marginalized populations both authors and readers. Digital humanities can
help to scrutinize the digital born content essential for a critical exploration of digital paratexts. Let us look
at how Amitav Ghosh's digital epitexts serve as a means to navigate and transcend the confines of the
western literary marketplace. Amitav Ghosh is a highly productive author. He is also famous for his digital
epitexts in minor genres. He can be treated as an example of an Indian writer in English who straddles
both the western literary market and its exclusivity. While firmly rooted in the western academic sphere,
Ghosh critiques the exclusions within the western literary market and uses his position to amplify
marginalized voices. Ghosh maintains his author webpage as well as active blog and Twitter feed also.
His blog username, Chrestomather, reflects his role as a language teacher, presenting his blog as a
collection of didactic texts. His paratextual posts are closely linked to his published works offering
extended versions, interviews and stories related to or directly from his non-fiction works. Another
category of self-promotion encompasses posts promoting his published work including announcements of
new releases, special editions, events, etc. Audience engagement posts involve direct interactions with
readers including responding to comments, etc., addressing their inquiries. Ghosh employs his blog to
champion marginal authors, works and histories in a series of posts categorized as promoting the
margins. These include book reviews, transcribed text posts and historical narratives focused on
marginalized postcolonial experiences often in non-English languages. His translator, Anna Nadotti,
highlights in an article reposted on his blog that Ghosh has shifted from traditional reportage to
continuous blogging using it to enrich the background of his works. He organizes his posts by category,
chronologically and offers a seamless interface for readers. His platform allows him to showcase forgotten
authors, texts as well as histories. As we have seen during our discussions, digitized platforms and
algorithms can perpetuate bigotry and prejudice which is socially and legally spurned by all human beings.
This has been termed as digital necropolitics by Rahul Gairola. Necropolitics is a term coined by the
theorist Achille Mbembe as going beyond the right to kill into exercising the right to expose other people to
health risks and complete death. Gairola uses the term digital necropolitics as exposing netizens
represented in and participating in the technological innovations to danger. This can be seen in the
history of colonialism where the darker races existed beyond the boundaries of civility and modernity.
Digital spaces can obscure both identitarian politics and power relations riddled by Eurocentric thoughts.
The British Empire's partition of the subcontinent and its resulting bloodshed and migrations are an
example of it. The social life and death afforded to subjects in and through digital representations by
institutionalizing racism, classism and xenophobia. Digital necropolitics becomes a central issue to
understand the ongoing impact of the partition in the South Asian diaspora and its relationship with
technology. We have already talked about the dominant narrative of the genesis of digital humanities from
Roberto Busa, but this genesis narrative of digital humanities is re-evaluated through the postcolonial lens
by looking at the broader historical moment and their socio-political significance. Gairola delineates how
Bollywood movies offer a counterpoint to digital necropolitics by serving as a cultural outlet for
representing the experiences of marginalized communities in India. Movies that depict colonial violence
like the partition serve as counter narratives to the conventional origin story of digital humanities
associated with Busa. It is a common fallacy that digital environments are democratized spaces where
representation is allowed to all through blogging and other social media platforms. Post-colonial and
South Asian DH aim to represent the stories and voices of those who are underrepresented in knowledge
production. Those from formerly colonized countries, indigenous communities and those who are
marginalized in their national context. Scholars in the area of digital humanities should be committed to
social justice by creating knowledge that challenges exclusions in the record of digital knowledge and to
ensure that the field does not remain limited to only reflecting the epistemologies and values of the global
north. In the next module, we will be discussing about feminist and queer digital humanities that deal with
technologies and methodologies related to gender, sexuality and social justice in the digital realm. We
would also talk about public digital humanities with respect to open access and the mandates required for
scholarly work.

Today we will extend our discussion of digital humanities in the realms of power and privilege by
discussing the feminist and queer aspects of digital humanities. Feminist digital humanities is aimed to
identify and explore women's sense of writing as well as to prove seclusion of women's work in most of
the digital archives. Feminism as we know is an analysis of the ways that power is created and reified by
privileging the systematic operations of patriarchy. Feminist DH questions the biases of algorithms and
the patriarchal hegemony which exists in computational modeling and machine learning. It is reinforced by
gender gap and gender bias in terms of representation and also of creation of technology. As discussed
earlier an intersectional framework to consider a feminist DH necessitates engagement with not only
gender but also all other axes of identity including race, class, sexuality as well as the digital divide.
Feminist DH implies the intersection of feminism and digital humanities to embrace digital and
computational methods in the analysis of power and to identify and explore the widespread presence of
women's work in most digital archives. The ideas of feminist DH maintain shared concerns regarding the
treatment of gender and the field s enactment of systematic exclusionary structures. According to Amy
Earhart the two major issues facing feminist digital humanities are systematic biases within the
infrastructure of DH and the need to de-center the whiteness found in DH theory. Earhart suggests that
these two issues are not binaries rather they are fluid and moving. Feminist DH needs identification of
bias in infrastructure and also recognize that DH work has been occurring outside of white masculinist
western DH structures. Harvard University's MeToo digital media collection can be cited as an example. It
accumulates and preserves the digital footprints of the social media driven MeToo movement and the
accompanying legal, political and social struggles in the United States. Elizabeth Losh and Jacqueline
Wernimont, well-known media theorist and digital rhetoric scholars argue for centrality that intersectional
feminism must occupy within digital humanities practices. Intersectional lenses transpose identities of
race, gender and sexuality and this hermeneutical labor empowers us to witness that overlapping
identities are targets of scorn even in the digital milieu and therefore must be historically contextualized.
The authors highlight the significance of embodied experience, materiality and labor in shaping knowledge
and intersectional representation in digital spaces. They have also cited the example of commodification
of the bodies of black women through pornography in digital spheres. Algorithms prioritize industry and
markets that are profitable even if it is at the expense of marginalized groups. Conventional normative
conversations in DH have shifted and become more inclusive of the marginalized with the development of
technological reach. Digital archives are one such forum that provides feminist assessment and recognize
the ways in which feminist digital literary studies have impacted the field of DH. They use markup systems
to map the priorities and research agendas of their creators and users. Markups are basically systems for
annotating or tagging text in a way that adds structure and context to the content. We will learn more
about markup languages in the later modules. The notion and practice of feminist markup has evolved out
of digitization and encoding of women's writing as well as feminist literary criticism. Wernimont delineates
the role of digital archives in making visible women's writing that has historically been marginalized.
Feminisms of digital literary archives encompass understanding how feminist theory and digital practices
are critical contexts for literary scholarship and to situate women's writing as transformational. And
therefore, digital archives are also thresholds between actions. It is in a 2013 essay titled, Whence
Feminism? Assessing Feminist Interventions in Digital Literary Archives that Wernimont has talked about
feminist markup and analysis. She asks whether we can describe digital archives as feminist or are digital
archives feminist because the content is by women or because the modes of production are feminist or
because the technologies themselves are feminist or used to feminist ends or is it all this? She however
concludes that archives whether digital or analog are important in the 21st century. Markup languages like
XML and SGML are not neutral but are political tools that must be taken into the techno social context.
The techno social world in which we live is one wherein our technologies cannot be safely fenced off like
they could be in the beginning of the 20th century. Instead, our changing technologies now are embedded
in co-evolving social practices, values and institutions. The use of interpretative markup that provides
instructions to describe the meaning of content rather than how it should be presented highlights blurring
of boundaries in feminist literary criticism by providing digital access to marginalized women's writing and
also using it to demonstrate inconsistencies in male definitions of genres of writing. Understanding
markup as interpretation opens up a feminist intervention that does not privilege pre-established
patriarchal definitions of text. Instead of forcing women's writing into patriarchal or canonical genres, the
interpretative nature of markup can be mobilized to create new genres and genre tags to accurately
describe women's writing. Unlike most digital archives of women's writing, the 2007 Orlando project is not
an archive that provides digital editions of existing texts. It is a born digital resource that focuses on
gender and other aspects of cultural formation. With more than 200 tagsets, Orlando project is a digital
channel to represent gender, literature and culture in digital born writing. This 2007 project owes its
namesake to Virginia Woolf's novel, Orlando: a biography to signify its break from conventional patterns
from a feminist point of view. It had been conceived by Susan Brown, Patricia Clements and Isobel
Grundy. Orlando's markup is highly interpretative and grounded in feminist scholarship. Each tagset
represents the nuances of women's identities, texts and related activities. The creation of tags like the
cultural formation exemplify women writers as part of social groups. The markup extends feminist theorist
Lucy Irigaray's assertion about the plurality within each individual women. The use of semantic markup in
Orlando project therefore is to observe the priorities of their creators and users and also to map its textual
human interpretations into a set of codes. This project also highlights the political and social conditions
that have helped to shape writing by women. At this point, it would be interesting to refer to Deb Verho-
even's talk, Has Anyone Seen a Woman? at the 2015 Digital Humanities Conference held at Australia. It
was a response to an all-male plenary panel that opened the conference. It directly pointed out the hidden
gender imbalance in the field of digital humanities. It also clearly suggests that the worldwide debate
around gender and digital humanities has not only been but is still is urgent. Imagine for a moment what
it's like for the rest of us attending a DH conference. When was the last time the conference air
conditioning didn't feel right to you? When was the last time you had to queue to use a toilet? When was
the last time you thought twice about what to wear on stage so that you could use the lapel mic? Why are
they even called lapel mics? When was the last time you saw seven consecutive women get up at a DH
conference and speak about anything other than gender? When? Any takers? No, because it didn't
happen. It hasn't happened. You've made a world designed around ensuring your own personal comfort,
but it's not comfortable for many, many other people. What do we do? Well, firstly, we can turn the air
conditioning down. I'm over it. I'm over sitting in the seats freezing. Seriously, seriously, I'm calling it. It's
time for you guys to sweat and have a sense of what it's like for us. This is not about issuing another policy
advisory for inclusion. This is not about developing a new checklist to mitigate your biases. This is
definitely not about inviting a talker female up on stage to join you. This actually needs to be about your
plans to exit the stage. This is not about learning how to do it better next time. This is about leaving before
there's a next time. This is not about approximating equity where 20% or 30% or 40% or even 50% is
good enough. This is about letting other people in by letting go of your privileged positions. Do you know
how quotas make us feel? They make us feel like we're only here because you have quotas, not because
we're great at what we do. The problem isn't how many of us there aren't. The problem is how many of you
occupy the positions that get to speak. We aren't the problem. You are. And I want to be really, really
clear. Even 50% representation or 51% if we want to be statistically accurate going forward isn't even
close to equity. Given the number of years that women have existed and continue to exist in this field as a
minority, the closest we can get to equity would be for men to leave the stage proportionally for an
equivalent number of years. So I want 80% women and 20% blocks for 30 years and then we'll have
equity. So in reality, I'm actually not that agitated by that definition of equity. Let's face it, the last 30 years
have been pretty horrible for most of us and I'm not an especially vindictive person. So I wouldn't impose
the last 30 years on someone else, which is why I ask you to stop imposing it on us now. So here's some
practical tips for how you blocks can leave DH in a better place than you found it. One, if we're going to
get quantitative, let's get quantitative and number your days and preferably publicly. Two, find someone
who doesn't look and sound like you and mentor them and encourage them and invite them into your role.
Three, have a clear purposeful succession plan and enact it. And finally, above all, be more than binary.
Do this because you embrace diversity in all its complexity, not because you have checklists or policies,
but because you recognize that the real story of DH is more heterogeneous and more complex and more
vibrant than you have allowed it to be to date. Feminist digital humanities argue for a rhetoric that allows
for a disruptive technology that subverts the patriarchal structures. They want to shape new spaces of
interaction for marginalized voices. They want to shape new spaces of interaction for marginalized voices
in a restrictive digital sphere. Restrictive as it perpetuates the conventional power hierarchies, these
subversions allow to reclaim some of their material existence in the digital sphere that comes under attack
where the body is not immediately present. Liz Lane has defined feminist rhetoric as any written or
spoken act about feminisms within the context of feminist interventions online that allow to reclaim
material experiences of feminist voice. Feminist rhetoric enacted online mirrors, the feminist body politic
that fosters a networked relation between authors, readers, spaces and public. Hashtags are rhetorical
interventions that are visually powerful and often serve as a rapid source for reactionary discourses. While
the internet has provided a voice and a platform for people who advocate for equality, it has also created
more within the movement itself. Digital activism is one of the most prominent feminist rhetorics. Digital
activism in the form of contemporary feminist protest reflect the oppressive nature of neoliberalism as well
as the possibilities for new subjectivities. Let us now look at some case studies of protests that bring out
the central concerns in contemporary feminist discourse and body politic as they move towards new social
formations. Digital feminist activism departs from conventional modes of doing feminist politics. The
emergence of feminist memes has created a renewed consciousness of feminist issues in the public
sphere and has mobilized new modes of feminist critique. It enables new kinds of intersectional
conversations by engaging with issues of privilege, difference and access. It reminds us of Butler's
argument. That the body must appear for politics to take place and it can expose realities as it is open to
transformation. The feminist protest employs the body to call attention to gender norms and re-signify its
identity via modes of hegemonic femininity. We have illustrated these poems with the help of two
examples which are given on this slide. Feminist twitter campaigns revisit long standing debates about
male as well as white privilege. We will discuss more in the later modules about feminist political projects
that use bodies as powerful sites of resistance in the context of digital feminist interventions in popular
culture. The intersection of queer thinking and DH is also a crucial area of study. Queerness resists the
logic of heteronormative hegemony subverting and destabilizing it. It operates as an umbrella term to
encompass all non-normative expressions of sexuality or gender. Let us look at some projects in this area.
Eve Sedgewick, the well known feminist critic has referred to queer as the gaps, dissonances and
resonances, lapses and excesses of meaning when one's gender or sexuality cannot be signified
monolithically. A queer user interface philosophy or the UI would design interfaces that are political. It
foregrounds how conventional UI design limit the ability to critique the operations of heteronormativity,
homophobia and transphobia. Queer DH disrupts the reifications of DH itself. It engages in what
Sedgewick has called a paranoid and reparative readings by destabilizing the heteronormative narratives.
It engages in reparative readings of the omissions and exclusions in digital culture. It dismantles social
constructs and subverts expectations on whatever technologies might do and finds diverse ways of
working alongside them. Queer culture in DH is a speculative project. It envisions a queer futurity in
computing and other digital methodologies. Two such speculative works we would talk about are Kara
Keeling's Queer OS and Zach Blas s Transcoder. They imagine how a queer operating system and
programming languages might function together. According to Kara Keeling, queer operating system or
queer OS would take socio-cultural phenomena such as race, gender, class, citizenship as well as
physical abilities to be mutually constitutive with technology, media and information technology. The logics
embedded within the operating system are at odds with the queer OS. This project also aims to transform
the material relations among people, environment and technology. The early precedent for queer OS
project is Rosanne Stone's The War of Desire and Technology at the Close of the Mechanical Age. She
has delineated cyber space as a techno-social space where interactions can be racially differentiated and
gendered or even transformative. Fragmented and complex identities emerge from the prosthetic
interaction between humans and machines which form new techno-cultural formations. Stone envisions
the everyday world as a cyborg habitat where social systems are constituted through communication
technologies. Zach Blas and Micha Cardenas are two visual artists who have been interested in
constructing diagrams and abstractions for queer technologies and trans-real aesthetics. Blas began to
develop queer technologies as a product line for queer technological agency that aims towards
automating what he terms as perverse possibilities. He correlates with the ideas of Jose Esteban Munoz
about a queer futurity where queerness is also a performative because it is not simply a being but doing
for and toward the future. Blas has developed groundbreaking conceptual artworks which are collectively
known as queer technologies. They signify that homosexual agency can be embodied in objects by
materially constructing its technicality. Blas who has demonstrated the theoretical functionality of his work
at Eyebeam Art + Technology Center in New York gendered a gay anti-programming language he named
as Transcoder. Transcoder is actually a software developer's kit that is neither finished nor fully
developed. It offers a bunch of tools with the understanding that people would add to it and make it their
own. However, Transcoder became popular as a queer programming anti-language that reveals a number
of limitations of digital computation such as its reliance on linear models of time. It can be said that
Transcoder is a queer programming language that provides linguistic possibilities for the queer sociality.
EngenderingGender Changers offers a wide array of gender adapters beyond male and female
configurations. A technical manifesto titled as Gay Bombs was also prepared by Zach Blas which
explicates the discourse of queer technologies. QT products engender a utopian performativity that is
prescriptive of a futurity and potentiality that insists on the models of minoritarian belonging. These
performances emphasize queer time and space that imply the coexistence of multiple times and spaces.
Digital archives also become a space to represent transsexual identities. Let us look at the Lili Elbe digital
archive documents in this context. They are the queer narratives of Lili Elbe who as Einar Wegener was
one of the first people to undergo gender confirmation surgery. The Lili Elbe digital archive is significant
not only as a literary object but also because of its status as a queer text. The life narrative of Lili Elbe
called Man into Woman has varying versions. This is compatible with the notion of the trans subject
whose gender fluidity marks the narrative as queer as well as its resistance to being pinned down to any
single version. The encoded transcriptions of each versions in three languages make it suitable for
comparative study with the help of a collation viewer and this suggests the trans subject and the literary
object is mutable rather than fixed. Incidentally, the instability of Lili's identity is also mirrored in the
instability of the work itself. The German and the Danish version keep the identities of Andreas which is
the fictional name given to Einar Wegener and Lili as separate while the English version suggests that Lili
is the dominant identity. The versions depict inconsistencies in depicting gender performativity that goes
beyond cross-dressing and is linked to corporeity itself. The difference in the identities of Lili in the
different versions depict a hetero reality, a world view that woman always exists in relation to a man. The
digital sphere reflects the social frameworks of our everyday cultural realm. We can also watch the
depiction of Lili Elbe s narrative in its movie adaptation, The Danish Girl, released in 2015. To conclude
this week's discussion on digital humanities, it is important to talk about public digital humanities and the
futures of digital humanities. When it comes to DH in the public sphere, the first thing we have to look for
are the processes of digitizing old books and documents. Also, what changes occur in how we read and
utilize these digitized materials. This encompasses the scholarly practices and methods for digitization like
the existing structures of digital repositories, peer review and citation. So, digital publications can be seen
as representations involving conscious selections of specific elements. Publication lies at the heart of
academic practice and evaluation and these shifts inevitably impact how scholarship is conducted. Let us
look at the existing structures, modes of peer review as well as citation, credit and intellectual property
aspects. Repositories like Zenodo provides near unlimited storage for researchers encouraging the
submission of data and software to materials associated with conferences, projects or institutions. Each
dataset is assigned a stable identifier ensuring long term citeability and stability. Digital scholarship can
facilitate rapid scholarly validation, potentially challenging the need for formal peer review. Proper
attribution and visibility are vital for scholars producing content for digital projects to ensure that credit is
appropriately assigned both within projects and also where external content is being used. Striking a
balance between open access and the continued role of publishers is a critical consideration for the field
of digital humanities. This is occurring at a time when sharing and publishing data and metadata have
become increasingly commonplace and in some cases even mandatory. This shift underscores the rapid
cultural transformation that has taken place in a short span of time through blogs and less formal
publication platforms. The publishing of raw data, code and images that constitute the entirety of the
project makes the research transparent and reproducible as possible. The distinction between code and
article blurs with the concept of literate programming initially proposed by Donald Knuth and gaining
widespread use in recent years. This approach prioritizes explanatory text over code, embedding the
letter within the former. Jupyter notebooks are a common form of literate programming. They allow for the
inclusion of formatted text alongside lines of code enabling the creation of fully functional software within
the context of a written discussion. However, this raises questions regarding what should be published
and also what constitutes research data. The definition of what should be published is becoming
increasingly ambiguous as the role of publishing and the notion of finality in research are rapidly changing
and also continually evolving. Publishing an article in an online only journal is still sometimes met with
skepticism. So, recognizing data or code as valid contributions to digital humanities as deserving of
academic recognition is still not fully or wholeheartedly accepted. The advent of artificial intelligence and
machine learning will also play a vital role in shaping the future of digital humanities. Let us look at the
anticipated impact of artificial intelligence on DH practices, automation and AI ethics. Automation methods
have evolved into standardized software packages and websites. This reliance on black box system, if we
can use this term, can lead to a lack of awareness regarding the operations being performed on the data.
The progression of automating humanities research can be conceptualized in three stages. The initial
development of custom-made software often created by humanist coders tailored to address specific
challenges. The second stage is of the transformation of these early software tools into comprehensive
packages like Voyant tools providing a user-friendly interface with minimal to no programming
requirements. The third stage is the emergence of more sophisticated machine learning tools designed to
customize the machine learning software for specific digital humanities projects such as the Mallet
software. The process of automation can also increase the tendency towards formalization made possible
by algorithmization. For example, assumptions can be made about gender, race or about the literary
canon and create an imposed framework for understanding institutionalized hierarchies. This calls for
ethical considerations as well. With the growing capacity to automatically classify extensive data sets,
computational tools are increasingly employed to abstract, simplify and visualize the complex big data.
Drawing from Malte Rehbein, three key areas for establishing ethical guidelines in AI and DH include the
three which are mentioned below. The first is the moral considerations specific to fields of research and
their direct relation to the objects of study. It encompasses areas like personal data, attribution and
publishing data with potential public consequences. The second is related with the moral aspects of digital
humanities as a profession governing the conduct of community members and their interactions with
society at large. The third area is the ethical responsibility of individual scholars in the scholarly
community within digital humanities to the broader society. Encompassing considerations like the
environmental impact of technologies and commitments to equality, diversity and inclusion. The future of
AI in DH has major ethical considerations. They bring forth considerations of usage, sharing,
transparency, respect for others, privacy, inclusivity to the ethics of crowdsourcing, handling controversial
or situated knowledge. To conclude our today's discussion, we can say that the intersection of feminist
and queer digital humanities marks a transformative juncture in academic discourse by foregrounding
inclusivity, diversity and critical perspectives. They not only critique existing power structures but also
strive to dismantle them, forging a more equitable and inclusive digital landscape. Additionally, the future
of digital humanities through the integration of artificial intelligence and machine learning augment our
analytical capacities presenting both opportunities and challenges in the pursuit of a more just and
empathetic digital future.

WEEK 6

Professional Communication

we covered the topic of digital humanities. We started with the evolution of digital humanities, the
practices associated with computational techniques like stylometric analysis, digital humanities and its
intersection with feminism, post colonialism as well as the literary analysis using DH methods. In today's
module, we shall be learning about professional communication in the digital age and its frameworks that
will help individuals and organizations in effectively analyzing and producing meaningful communication.
We shall examine how communication in the digital age has changed and shall reflect on the effective use
of language and communication on digital platforms, the concept of digital rhetoric as well as digital
literacy in the online age. Communication has changed dramatically in the digital age and digital
technologies, the developments therein have impacted and transformed almost all aspects of
contemporary human society. These digital technologies have not only radically altered the processes and
practices of communicative interactions but have also in fact reshaped our fundamental sense of the self,
our culture and our very human reality. Now let us try to understand what exactly is professional
communication and what difference it makes in terms how we create and encounter it and how we interact
in professional settings in this digital age today. I would begin this discussion by referring to a book by
Heidi Mckee which came out in 2017, namely Professional Communication and Network Interaction. It
defines professional communication as a workplace based communication that can be oral, written, digital
or multimodal. The digital age has effectively changed how we communicate by placing the digital
technologies, content and the creators within an interactive network. The book which I refer to at this
stage is The Fourth Revolution published in 2014 by Luciano Floridi. Floridi has identified the new digital
age as information revolution that is not only changing how we communicate but it is also somehow
fundamentally changing us as human beings. Online professional communication now has become
multimodal which means that communication is made through combinations of two or even more modes.
Communication in digital platforms are now multimodal because of the increased and continually
increasing ease with which audio, video and textual elements can be merged into each other. This has
increasingly blurred the boundaries between home and work, personal and professional, private and
public. Now let us look at the features of online communication in the digital age to understand the impact
of digital technologies. In online communication spaces also, people can share, reframe and repurpose
content. They can reach audiences quickly, almost simultaneously and widely. Digital communication and
its contents can be distributed but it can also be challenged, criticised, refuted, mocked and parodied. Let
us say that the quickness and the capability to overcome spaces inherent in the digital communication is
an asset as well as it can also equally, quickly and easily become a liability if as communicators we are
not careful. When we look at the features of online professional communication, we see that it can be
dyadic and interactive, it can be public and archived, it can enable the virtual presence and it also
generates radical connectivity and speed. Dyadic and interactive communication is as we can understand
easily, a two-way process between the communicator and the technology which is being used. With the
help of it, people can share, reframe and repurpose their content. Communications can also be made
publicly or also can be archived. With the help of the online communication, we feel that now physical
presence is becoming less and less necessary with the help of audio-visual technologies like virtual reality
and video conferencing platforms. They also provide us a radical connectivity and speed. The digital
technologies are changing the speed, mobility and timeliness of communication and therefore, we find
that there is an exponential growth rate in which communication is being dispersed now. Communication
travels at an exponential growth rate rather than a steady and proportional one. The picture which we
have shown in the previous slide shows how the Kellogg company used the hashtag 3 billion better days
to share stories about its work for hunger relief and also shared information about ways people as well as
corporations could help. This program exceeded its goal in 2016 of providing 1 billion breakfasts to hungry
children around the globe. Interestingly, this could also mean that misinformation can also be distributed
at an alarmingly high pace. Even though digital technologies and their networks have blurred the
boundaries of public and private in many ways, professional communicators must always understand the
nature of the communication, that is whether it should be public or archived because of the immediacy of
its reach. Digital technologies change the nature of teamwork also as well as of collaboration by providing
an online virtual space for collaborative work activity. To be an effective communicator means not only
crafting a well-written message but also knowing how to deliver it with the help of the use of the internet
and also how it should be constructed and designed for digital delivery. In other words, we must
understand its rhetoric clearly. So what do we mean by digital rhetoric? Rhetoric involves using language
effectively to adopt a particular point of view or to take a particular type of action. Digital rhetoric is a
newer field that applies the principles of rhetoric to digital communication, including social media,
websites and other digital media platforms. The first use of the term digital rhetoric was made by Richard
Lanham in his lecture in 1989. The lecture was Digital Rhetoric: Theory, Practice and Property . It was
used by Lanham to imply the connection between computer mediated communication and rhetoric. This
concept of digital rhetoric was further elaborated on by Lanham in his 1993 work, The Electronic Word .
Digital rhetoric considers how the use of digital technologies can shape the way we communicate and
how we can use these technologies to create persuasive messages that resonate with digital audiences.
Digital rhetoric can also involve analyzing how digital technologies affect the way we understand and also
perceive information as well as the way we communicate with each other in an online mode. It
encompasses the social and cultural environment also, which we also shall be covering in our discussion.
Rhetoric suited for digital communication is phatic, multimodal, global and intercultural. Also it is
performative, networked and intertwined with ethics. A phatic model refers to the social function of
language, which is popularly known and understood as a small talk. Small talk or the phatic model can
build rapport and trust among individuals, which in turn could lead to meaningful interactions. It also
implies that the communication we are using is not simply informing us of certain matter, but it is also
dialogic and mutually beneficial. Examples about it can be given in the context of body language,
gestures, greeting, facial expressions, etc., which communicate a lot even within the digital world. Digital
rhetoric is also performative, which means that it is both an expression and an action. Individuals can
create communication, but also choose what aspects of their identity is to highlight and what tone they
should use to persuade the audience. Digital communication often demands a phatic model that keeps
conversation open and establishes fruitful relationships. Glib or aggressive styles of conversation or sharp
tongues are to be avoided in our communication, online or offline I would say. Instead modesty and
politeness are phatic symbols that build rhetorical credibility in professional digital communication too.
Businesses use phatic functions in digital spaces in order to invite response from the public and also as a
marketing strategy. As we have seen earlier, digital rhetoric is also performative as it is concerned with
making and doing. Making an object that is a communication message like a business presentation and
with doing something such as having an effect, for example, imparting knowledge or creating certain
value for the audience. Digital rhetoric as networked means that the communicator is a part of a network
which also consists of the audience, context and technology. It is multimodal, which means that it can
include videos, visual designs, algorithms, interfaces etc. that shape digital communication. This can
shape the understandings and actions of people allowing for a greater degree of interactivity and also
enabling them to respond and participate in the message in real time. In the previous slide, we have
referred to the French philosopher, Latour. According to him, everything in the world, including technology
is made up of a network of interconnected actors that work together to shape the world we live in. This
further facilitates communication, collaboration and the exchange of information and resources,
regardless of their physical location and facilitating the exchange of knowledge, ideas and resources
across borders and cultures. As we discussed earlier, digital rhetoric becomes multimodal because each
mode of communication can be used in combination with others to create a rich and engaging message
that can appeal to multiple senses and capture the attention of a diverse audience. For example, a digital
advertisement may combine text, images and video to create a compelling message that is more effective
in comparison to a traditional print advertisement that relies solely on the text. Rhetoric theory emphasizes
the importance of cultural and identity difference. Difference and not similarity is in fact the basis of most
situations in professional communication we are likely to find ourselves in. Digital rhetoric on the internet
encounters difference because of its global and multicultural aspects which are inherent in the very nature
of communication. Understanding the importance of differences in terms of race, class, ethnicity, gender,
linguistics etc. is the key to the success of professional communicators. It also creates what is known as
mestiza rhetoric which means mixing or blending cultural differences to create a third space that allows for
communication across differences. This concept is derived from the American scholar Gloria Anzaldua s
work which is semi-autobiographical in nature and came out in 1987. The title of this work is Borderlands
La Frontera: The New Mestiza . Digital rhetoric and ethics are also intertwined and overlapping in the
context of professional communication. Digital rhetoric can also be used to create persuasive messages
that may not accurately represent the truth. Anzaldua challenges the concept of border. She uses the
term borderlands to suggest the area that is most susceptible to what she has termed as la mezcla which
is a Spanish word for hybridity. The concept can relate to geographical areas also to the invisible borders
of cultural or social identities. It also suggests that we should learn to live with expectations of different
worlds simultaneously. Online communications are global in the respect that they cross national
boundaries to the extent that they mix or blend cultural differences creating a space that allows for
communication across differences. We can give the example of profound cultural differences which are
there as far as their interpretation of silence in a communicative situation is concerned. In Chinese culture
silence is viewed as a sign of respect and attention and not apathy or disengagement. Similarly, glib or
small talk is often used as an ice breaking strategy in US business meetings which is distrusted by several
other cultures. Also it is important for speakers to be mindful of ethical considerations in their digital
communication practices and to use a suitable digital rhetoric to promote ethical communication and
engagement. Digital ethics will be explained further in other modules later on. Rhetoric emerges as a
condition for humanizing the effect of machines with the help of the use of multimedia tools manipulating
digital media and the linking of separate media elements to one another creating hypermedia. James
Zappen in his article, Digital Rhetoric: Toward an Integrated Theory has identified digital rhetoric as
focusing on four major areas and he lists them as the use of rhetorical strategy in production and analysis
of digital texts like emails, blogs, social media posts, etc. The second area which has been highlighted by
Zappen is identifying characteristics, affordances and constraints of digital media and technology. The
third is the formation of digital identities and the fourth which Zappen has referred to is our understanding
of the potential for building social communities in the context of digital provisional communication. In short,
we can say that digital rhetoric is the study of meaning making, persuasion or identification as expressed
through language, bodies, machines and texts that are created, circulated or experienced through digital
technologies. This underscores the social and communicative elements of technology also. We shall look
at digital rhetoric as employed in the production of a range of digital texts including websites and videos,
etc. We will primarily be looking at two key texts in this reference. The first is Barbara Warnick's Rhetoric
Online and the second is Virtual Politik by Elizabeth Losh. So, in this module today, we have looked at the
frameworks of professional communication in the digital age as well as digital rhetoric. In the next module,
we shall look closely at the works of Barbara Warnick and Elizabeth Losh. In Rhetoric Online which was
published in 2007, Barbara Warnick has used theories of intertextuality. Intertextuality as we know is a
concept that recognizes how texts are interconnected and influenced by other texts. In my other course
which is also run by NPTEL Swayam on Literature, Culture and Media, I have discussed this theory in
detail.

Good morning dear friends and welcome. In the previous module, we had introduced the concept of digital
rhetoric and discussed its features. Keeping this context in mind, in today's module, we will be introducing
two critics, Barbara Warnick and Elizabeth Losh. We would be primarily discussing their work, Rhetoric
Online and Virtual Politik. In Rhetoric Online, which was published in 2007, Barbara Warnick has used
theories of intertextuality to examine how digital texts are used strategically to create persuasive
arguments. Intertextuality is a concept that recognizes how texts are interconnected, are influenced by
other texts. This can shape our understanding of language, meaning and public discourse. Warnick in her
work has given two examples. The first example examines animated parodies created by your website,
jibjab.com during the 2004 presidential election targeting John Bush and John F.Kerry's campaigns and
pharmaceutical industries. The second example comes from the popular websites of Adbusters focusing
on their use of static and visually spoof ads. Warnick analyzes the intertextual connections and messages
conveyed by these parodies and discusses how they do exploit their textual and contextual environments
to capture the attention of the users and how do they influence their thinking. The images which have
been given show three spoof ads of popular commercial brands to draw awareness on ecological
destruction, consumerism and alcoholism. These ads used intertextual references to recognizable
advertising campaigns in order to subvert their messages and convey a political as well as a social
message. This shows how professional communication is evolving in the digital age and how it involves
the creation as well as dissemination of messages within various contexts. The following video shows the
parody of the song, The Drugs I Need by featuring a man who is frustrated with the high costs of
prescription drugs in the United States and sings a humorous song about the drugs he needs. The lyrics
of the songs parody the language and imagery often used in pharmaceutical advertisements while also
highlighting the high costs and complex regulations of the country. The parody criticizes the
pharmaceutical industry in the pursuit of media activism and tries to subvert advertising and consumerism
in the mass media. It uses intertextuality by drawing on recognizable pharmaceutical advertisements and
the popular culture. The website employs various digital communication technologies such as animation
software and social media integration. It is an example of how digital communication technologies and
rhetorical strategies are evolving in the digital age. Elizabeth Losh in VirtualPolitik which was published in
2009 mainly focuses on the conventions of new digital genres that are used for everyday discourse in the
lives of average people, for example, wikis, blogs, PowerPoint presentations, publications, etc. She talks
about learning appropriate rhetorical practices in these genres. This includes web design choices, suitable
visual and auditory presentation and links to information, etc. Losh is concerned with the deployment of
digital rhetoric as a means of power, ideology and control on the part of governments and bureaucracies.
These messages become public rhetoric as they are represented and recorded through digital technology
and disseminated via electronic networks. Losh gives various examples like the websites of the US House
of Representatives, extensive use of PowerPoint as a communicative medium by government agencies,
government sponsored digital library initiatives, etc. This gives us more reasons to learn and understand
how the digital world works. Losh also talks about the digital divide between the people who know or are
literate about digital technology and its uses and those who do not. To use digital technology for
persuasive communication purposes, one needs to have a strong understanding of how to use digital
tools effectively and critically as well as an understanding of the social and cultural contexts in which
digital communication takes place. That is one needs to have digital literacy. So the question which we
should ask is what exactly is digital literacy? In his 2003 book, Literacy in the New Media Age, Gunther
Kress has explored the changing nature of literacy in the digital age. New media technologies have
transformed the ways in which we read, write and communicate and as a result, the definition of literacy
has also evolved. Kress has developed the concept of multi-literacies. It emphasizes the idea that in the
digital age, we need to develop a range of literacy skills that include social diversity, cultural and
communicative competence. Kress also thinks that the concept of multi-literacies takes into account multi-
modalities like visual, aural and special patterns as meaning making as much as the linguistic mode. For
example, a website may contain text, images, video and several other interactive features and we need to
develop multi-literacies to read, understand and interpret these multiple modes of communication. To
elaborate this point further, I would also refer to a 2004 book titled, Literate Lives in the Information Age
by Cynthia Selfe and Gail Hawisher. They have used the word literacies of technology that also links
literacies with technology, digital and electronic. It encompasses the notions of hybridity and
intertextuality. Selfe argues that digital texts are interconnected and intertextual as they allow for
hyperlinks, multimedia elements and easy access to a vast network of information. Digital texts enable
hybrid literate practices as people are able to blend different modes of communication in order to create
new forms of expression. This also entails having knowledge of diverse meaning systems, the socio-
cultural contexts and the power dynamics in which these technologies are produced and embedded in
everyday life. This means an understanding of how and why various social groups have different and
unequal access to digital technologies and how its access and distribution work in the interests of some
groups and can also disadvantage others. We need to understand the political and material
consequences of technological changes and divides. Now that we have talked about the changing nature
of literacy in the digital age, let us look more into the concept of digital literacy. Paul Gilster in his book
Digital Literacy published in 1997 defines the concept of digital literacy as the ability to understand and
use information in multiple formats from a wide range of sources using different digital technologies. It
goes beyond the textual and include the effective use of signs, symbols, visual representations, words
and sounds whose combinations create different meanings. This is a concept that focuses on the digital
but it is not limited to it. It also focuses simultaneously on central competencies like reading and
understanding digital as well as non-digital formats, creating, communicating and evaluating information
from different sources. If we look at the picture, we can see how digital literacy has combined
multiliteracies that we have talked about earlier with the competence to use technology. This includes
cultural as well as social understanding, collaboration, functional and communication skills and creativity,
etc. We will also examine this in detail later on. The emergence of digital literacy can be divided into three
stages. The first stage is the public uptake of the computers in the 1980s. The second is the rise of
hypermedia in the internet in the 1990s and lastly the more recent emergence of a networked information
economy. The proliferation of personal computers in the 1980s particularly for the purpose of word
processing marked the emergence of digital literacy. The rise of hypermedia extended the notions of
textuality and literacy because it conveyed the idea that digital documents are networked with multiple
pathways that link their contents with each other. Digital literacy evolved into a social practice that
converges different cultural contexts in constructing, modifying and sharing digitized information. Digital
literacy is a form of information literacy that demands skilled navigation and making sense of relevant and
reliable information. A digitally literate person should be able to access information from a variety of digital
sources, evaluate the accuracy, relevance and credibility of digital information, use digital tools to
organize, analyze and present information, communicate effectively using digital technologies and
understand the ethical and the social implications of digital technologies. Next we will look at a holistic
model for digital literacy and its several thinking skills. These thinking skills have been termed as photo
visual, reproduction, branching and information, real time digital skills, socio-emotional as well as skills
related with and based on participation and collaboration. To elaborate this point, I would refer to an
article by Yoram Eshat-Alkalai. In this article titled Digital Literacy: A conceptual framework for Survival
Skills in the Digital Era , he has developed a holistic conceptual model for digital literacy while working in
digital environments. This entails understanding of several components which we have referred to. He
mentions first of all the photo visual digital skills which emphasize the importance of visual communication
and graphic based semantic environments. It is relevant because digital texts often incorporate visual and
symbolic elements such as images, icons and emojis alongside written or spoken languages. Infographics
are visual representations of data or information which combine text, graphics and other design elements
to convey a set of complex information in a quick and clear way like graphic user interface, video games,
virtual reality, et cetera. Understanding the semiotics of digital communication is necessary to read and
interpret a wide range of visual and symbolic cues in order to effectively communicate and understand
information. For example, when we see a logo or an icon, we should be able to understand what exactly it
represents and what message is communicated by it. Similarly, design is also a key component of digital
literacy because the way that information is presented, the layout of a webpage or document and the use
of colors and fonts all play a role in how effectively we can communicate and navigate the content. The
modern digital technologies provide us with new possibilities for creating art and academic work by
reproducing and editing existing texts, visuals and audio pieces. This is reproduction digital skills. So
reproduction digital skills are cognitive skills to create new meanings or interpretations by combining pre-
existing media in the form of text or graphics or sound. New text or art can be created by reorganizing,
rearranging, manipulating or editing to create new meanings or artworks. For an example, we can take the
pop art. The branching digital skills incorporate hypermedia technology which led to the evolution of
branching digital skills or hypermedia skills. It requires the ability to stay oriented and avoid getting lost in
the hyperspace while navigating through complex knowledge domains. Successful branching literate
users have the ability to create mental models and maps of web's structure that help to overcome
disorientation. The branching nature of the modern hypermedia technology provides users with a high
degree of freedom in navigating through the internet and other knowledge domains. It has become difficult
to construct independent information from the large number of hyperlinks found in certain popular
websites, for example, like Wikipedia. The exponential growth in the amount of available information has
led to the requirement of information digital skills. Information digital skills refer to the ability of information
consumers to make educated and smart information assessment from false information. It has led to the
phenomenon of information decentralization in which the contribution of new information by the users
becomes relevant. Users now have become consumers who are bombarded with large volumes of
information, the authenticity of which is not always confirmed easily. Real-time digital skills refer to
situations that require real-time and high-speed processing of simultaneous large fluxes of information,
mainly in multimedia environments like digital games and virtual reality and need real-time digital skills.
The user's successful performance is their ability to effectively process this fast-moving stimuli of different
kinds like sound, text, and image. While operating such environments, the users need to split their
attention and simultaneously react and respond to different tasks on the screen. The expansion of
platforms for digital communication and knowledge sharing has made the users to employ sociological
and emotional skills in the cyberspace. Socio-emotional digital skills involve primarily emotional and
sociological aspects of working in the cyberspace. The challenges include not only the ability to share
formal knowledge, but also to share emotion in digital communication, to identify deception in chat rooms,
and to avoid internet traps as a hoax and malicious internet viruses. This can happen through social
networks and other collaborative environments like Twitter or Facebook, for example. Participation and
collaboration is also significant, as the digital age has enabled new forms of participation and
collaboration, such as social media, online communities, and crowdsourcing. These forms of participation
and collaboration become part of digital literacy skills, as they raise important questions about the nature
of expertise, authority, and knowledge in the digital age. Developing the skills and competencies needed
to participate effectively in these new forms of communication and collaboration is essential for success in
the digital age. Unlike the print media, digital literacy emphasizes fluidity, hybridity, and intertextuality.
Next, we shall discuss about digital literacy's media production and schooling, since the conception of
digital competence has been important on a policy level to create more awareness of the impact of digital
technologies on our education system. Digital literacy is related to situational embedding, which means
the use of technology within life situations. This is important when relating to how children and young
people use digital technology across contexts. Appropriation refers to selecting, cutting, pasting, and
combining semiotic resources into new digital and multimodal texts, which is achieved by downloading
and uploading files from different sources. This also raises the question of authoring. Multimodal practices
could be said to give students a voice to express their positions and interests. This can be seen in digital
storytelling and self-representations using digital tools. The concept of appropriation raises some key
issues of educational work and text production within digital media. In school-based activities, the
question of copy and paste has been raised as a concern since students have been said to just take
elements from other texts and copy them into their own texts without much reflection. However, research
that has been done on these activities shows that if we look at this in longer trajectories of activities, we
find both discussions and reflections on the selection, implementation, and expression of different media
elements into new textual expressions by students. Let us take two case studies based on a Norwegian
school and examine them closely. The first case study is about the creation of a project website named
Antarctica Project based on an expedition to Antarctica. The second case study was to identify the
prejudices between two schools situated on either part of the city of Oslo using digital technology. The first
case study finds that the project started with the creation of web pages with information from the internet.
Students used digital map to plot the route of the explorers and used email to stay in connect with them.
They also used video conferencing to collaborate with other schools. In the second case study, it was
found that both the schools used a collaborative approach despite cultural and social differences. They
communicated in online platforms like MSN, edited videos to put on the web, they searched for statistical
data from the internet, and used visual effects for a creative output. This not only shows the use and
literacy of technologies in classrooms, but also the appropriation of different media elements to create
different perspectives and meanings. It also shows how the collaborative and the creative process among
the students through their dynamic use of digital media was integral to their respective projects. Next we
shall discuss about digital literacy in online social networking spaces. Understanding participation in social
networking sites in terms of digital literacy involves considering on how people generate, communicate,
and negotiate meanings through it. It can be said that participation in a social networking site is a form of
digital literacy. Knowledge displayed on these sites is encoded as they are part of a person's identity and
interests. This means that texts can be freed from their immediate context and exist independently to be
shared, interpreted, and consumed by others. This includes the status updates, feeds, images, videos,
etc. The social networking sites contain specific textual references and meanings like wall posts, which
are public messages posted on someone's wall, status updates, which are short messages that describe
what a person is currently doing or thinking, or the superpoke application which allows users to send
virtual gestures. The range of modes of expression available to users and the ease with which they can
be shared across profiles mean that participants can convey multiple meanings simultaneously using
icons, layout features, audio, photos, and several other types of clips, etc. Having digital literacy entails an
understanding of discourses which enables meanings to be made. Discourses are systems of meaning
that organize the way we think, act, and interact with the world. A person's profile on the social media
emphasize one's affiliation with a particular discourse like academic, political, media, etc. Meanings made
from textual and symbolic elements in social media and its subsequent hyperlinks are relational as they
express solidarity, familiarity, or some kind of relationship with other people. We will learn more about
social media and its impact in detail in the coming modules. As technology is increasingly becoming an
integral part of our everyday life, people must develop a critical digital literacy to become more aware of
how power operates in digital spaces that shapes our way of thinking and doing. Critical digital literacy
examines how the operation of power within digital contexts shapes knowledge, identities, and social
relations that privilege some and marginalize others. Critical literacy also examines how digital
technologies provide means of representation that conceal ideology in newer ways. This includes the
default and preference settings, drop-down menus, etc., which create a semblance of freedom and
autonomy. Technology can also limit the perception of the world and create biases by filtering knowledge
through algorithms. Structural biases of search engines can prioritize commercial information providers
and English language sites. The picture given shows how Facebook is in the business of selling data
about users to advertisers. The default categories users are made to fill out on their profiles, for example,
favorite books, information about the movies they have liked, etc., encourage discourse of personal
interests that serve Facebook's commercial motives. It shows the representation of meanings and
identities. Differential access to technology and digital literacies is an important concern of critical digital
literacy. Socioeconomic background can shape the perception of what technologies are for and how they
should be used. Learners get socialized into specific digital practices that can either facilitate or disable
upward social mobility. In her article, Reconceptualizing Critical Digital Democracy, Luci Pangrazio
proposes critical digital design, political model of digital literacy which cannot be separated from
discourse, ideology, and power. Hacker literacy is referred to how users can actually go beyond critiquing
by actively resisting and reconfiguring networked public spaces. Stigmatizing literary practices in
networking sites does not solve the problem. Critical digital literacy tries to analyze, critique, and transform
the norms. It dissects the assumed meanings of concepts like friend, link, like, and open in digital context
and tries to resist it. We will look more into this in the coming modules. Digital literacy involves an
examination of the complex interplay of information process, software dynamics, linguistic processes, and
cultural practices that are at work in the digital age. Literacy is also about knowing how to create a sense
of distance from technology and reassessing our relationship with it. Digital technology and its practices
have the power to privilege some and marginalize others. An approach of cosmopolitanism which treats
all humans as a single community calls for an understanding of the ethics of communication in a digitally
mediated world. In the next module, we will extend the concept of digital literacy to multimodality,
hypertext, and links and new visualization techniques. We will be focusing on multimedia and hypermedia
technologies in the context of digital communication.
In today's module, we will be extending the concept of digital literacy further to multimodality, hypertext
and linking visual communication and new visualization techniques in the context of digital technologies.
Further, we will be focusing on multimedia in hypermedia practices. As we see, the escalating focus on
literacies and digital technologies has increased the scope and research potential of multimodality for
digital communication. Multimodal communication supports a convergence of channels or modes like text,
audio, video and images for user to user communication. What is interesting about multimodal
representations is that they unsettle and remake genres and often also reshape practices and
interactions. Let us now look at the shift towards multimodal content, tracing its history and key concepts
and understand the range of new literacies to cope with the proliferation of images, graphics, video,
animation and sound in digital texts. In this reference, I would refer to the book Multimodality which came
out in 2009 authored by Gunther Kress which has described the evolution in media from the printed page
to the digital screen. Kress talks about how writing would become more visual as it adopts the logic of the
image that is promoted by the screen. Multimodal digital communication refers to the use of multiple
modes of communication such as text, images, audio and video etc. simultaneously in digital
environments. This entails understanding the affordance and constraints of text, images and other modes
also. Also, it discusses how to design for the visual space on the screen and how different modes can be
combined to make a meaning slightly different or to create a new meaning altogether. Multimodal digital
communication combines various forms of media elements within a single communication context. But we
have to know that the mode that we are using makes a difference to the kinds of meanings that different
audiences can make. For example, meanings in images represent continuous phenomena in comparison
to the meanings given in text. Different modes have different underlying assumptions even though they
do share some common features. And now, let us look at some of those. The common features which we
would be taking up in this slide are interactivity, semiotic resources, accessibility, synchronous and
asynchronous communication. Interactivity allows us in the context of multimodal digital communication to
interact with the content, navigate through different media channels and elements and participate in
activities such as commenting or sharing. Semiotic resources allow for the use of multiple semiotic
resources such as visuals, sounds and gestures to convey a meaning that can be social, cultural or
material. Multimodal communication also enhances accessibility and inclusivity by accommodating
different communication preferences and abilities. We can also look at synchronous and asynchronous
communication. Synchronous communication is one which occurs in real time and asynchronous
communication is one which occurs in a delayed manner. Multimodal digital communication offers
flexibility in terms of content creation and consumption. It can also be accessed and delivered across
different devices and platforms allowing the users to adapt their communication preferences based on
their needs and technological capabilities and also the accessibility to a particular type of technology.
Now, let s look briefly at the two emergent phenomena related to multimodality in digital communication.
They are interactive multimodal platforms or IMP in brief and robot mediated communication. IMPs or
Interactive Multimodal Platforms incorporate user generated content and social interaction that allow
users to comment via multiple channels on a single website. It can be in the form of text as in email chat,
audio that is Voice over Internet Protocol, video as in video conferencing and graphics etc. In comparison
to IMP, robot mediated communication makes use of telepresence robotics that facilitate geographically
distributed communication. It makes use of cameras, sensors, microphones, speakers and other tools
also. The concept of IMP and robot mediated communication was mentioned initially by Susan Herring in
her article New Frontiers in Interactive Multimodal Communication. WhatsApp is arguably an example of
the IMP on a mobile device. In addition to text messaging, it enables smartphone users to exchange
image, video and audio messages in a single conversation. We will discuss more about robot mediated
communication in the coming modules. To communicate with multimodal resources, we need to know
also how to design them. And now, let us consider the steps to ensure an effective communication
experience in digital mode. If we look at the slide, we look at an advertisement by PETA, which wants to
encourage students to say no to animal dissection. But it is a very apt illustration in the context of
multimodal digital communication. In the diagram also, we can look at different aspects related with
multimodality. For example, in order to design multimodal texts, we have to choose the multimodal data.
We should also be able to capture the social context. We should also be able to plan content and
structure in order to create an outline or a storyboard. We should also be able to distribute and evaluate
that is how to publish the multimodal digital text and how to gather feedback from different users. How do
we integrate the issues related with design and layout to consider the overall aesthetics, color schemes,
etc. And how do we integrate these modalities so that it facilitates interaction and also expresses
emotional impact, power and relationships also. The concept of modality refers to how truthful the
representation is portrayed to be. The multimodal text on the right hand side has incorporated visual
modes of text and images. So, this PETA advertisement has also shown a popular American singer, Noah
Cyrus. It is an interesting example of text image interaction and also of a visual argument that can
simultaneously appeal to our emotions. In the following video, we shall look at an interview of the famous
linguist, Gunther Kress. We have also referred to Gunther Kress in the previous module in the context of
multiliteracies. In this interview, he is talking about multimodality and social semiotics. He suggests that
meaning cannot be properly conveyed through a single mode and that different modes serve different
purposes to convey the meaning. Let us now have a look at the video. Gunther Kress is shown in
conversation with one of the scholars, Berit Henriksen at the University of London in 2012. This interview
was an extension of his work, Multimodality: A Social Semiotic Approach to Contemporary
Communication. He suggests that videos are situated temporally, where images are spatially located,
while text is historically situated and it is this combination which creates the meaning in its totality. So,
what happens when we put modes together? Well, behind it all is of course the notion of communication. I
want to communicate something to you. I want to have a meaning which I want you to get in some way. I
have the sense that one mode alone won't do it. So I put modes together because I have a sense that
this mode will allow me to do this kind of thing best and this mode will allow me to do this other thing best.
So for instance, on this website that we have here, I can click on a particular thing and what I have is
something which is in time. There's a mode of moving image or little video which is moving image and it's
speech. Together these things are in time. But at the same time, I have things which are not in time, bits
of writing. So I have things which are not in time and things which are temporally insatiated. I have an
image, a still image, which is spatial. So because I want to say things which are about things which are in
time, they move, things which are not in time, they're stationary, things which are spatially kind of
displayed like images, I want to put all these together because of the meaning that I want to make. So I
have a sense of what these things do. I have a sense of what I want to mean and so I have a kind of an
interest to make a composition in which certain kinds of things come together in a particular way that best
exemplifies or communicates what I want to mean. So these modes are kind of arranged according to the
interest I have as the person communicates but also my sense of who you are and what might be most
interesting, most readily memorable, yeah, most pleasurable, most informative for you. So these things
are sort of set in a communicational frame. So you seem to suggest that different modes can do different
kinds of things. Yes and I suggested in part that it's me who makes the decision about which mode to use.
There is also of course around me a sort of conventional notion. I said for instance if I'm kind of
communicating something very formally then writing might seem to be, because my society tells me, the
best means for doing that. It seems that we have in our society not just these modes available to use but
also conventions that indicate to us not as strict rules, nobody's going to get shot, but as rules,
conventions to use them in particular ways. And so we might say that writing over many hundreds of
years in literate societies has become specialized to be the carrier of certain kinds of information. There's
a functional specialization of writing. And also of course then what happens is that writing in that past
which is now changing very rapidly carried most of the informational load. So we can ask in a particular on
this website which mode is carrying most informational load. Kress elucidates the point that these modes
can be arranged and rearranged depending on a person's interests and the type of communication one
wants to convey. Let us also take a case study of multimode digital teaching using the VARK model
during the COVID-19 pandemic. VARK stands for visual, aural, read or write and kinesthetic. The VARK
model is based on the idea of empowering students by finding out their sensory preferences and
adjusting their study methods accordingly. As the diagram on the right hand side of the slide suggests,
practical sessions included creating user centered designs or UCD that incorporated the visual aspects
that is they had to look at the slides. Listening to the teacher constituted the auditory component, note
taking and providing some detailed examples were taken as the writing skills, the reading skills as well as
the kinesthetic skills. Video conference softwares such as Teams and Discord were also recommended
for teachers during the COVID era to explain the activities. What we have to understand is that
communication is a process of inference where the speaker intends to provide information that is relevant
to the listener. In multimodal communication also different modes are used to match the goals and
expectations of the users who consume the data. Let us understand this by applying the relevance theory
to digital multimodal texts and visual rhetoric. So, what exactly is relevance theory in the context of
communication? Relevance theory has been developed by Dan Sperber and Deirdre Wilson who seek to
explain communication as a process of inference where the speaker intends to provide information that is
relevant to the listener. It suggests that communication aims to achieve optimal relevance where the
cognitive effort invested in processing information is justified by the cognitive effects gained. Sperber and
Wilson also explained how certain visual and interactive elements are more salient than others and affect
the viewer's attention and cognitive processing. It contributes to the viewer's understanding of the
intended meaning within the digital context whether it is social, cultural or situational. Features such as
hyperlinks and animations also attract attention and impact our interpretation of the overall message when
we view it on the screen. In multimodal digital texts viewers need to navigate through various elements
and interactive features. Relevance theory here can help us in understanding how viewers assess the
relevance of these elements and allocate their cognitive resources effectively to understand the intended
message or achieve their goals within the digital environment. Many people find themselves engaged in
new multimodal literary practices as producers of digital texts. The representation of data and information
now has increasingly become digital due to the advent of new data visualization techniques. So, what do
we exactly mean by data visualization? It is the graphical representation of information and data that helps
to curate data into a form which is easier to understand highlighting the trends and outliers. General types
of visualizations are chart, table graph, geospatial, infographics and dashboards. And certain examples of
data visualization may include Tableau, Infogram, Datawrapper or Google charts. Tableau is an extensive
gallery of infographics and visualizations. Infogram is visualization of data for social media posts,
dashboards, marketing reports, etc. Data wrapper is created specifically for adding maps and charts to
news stories and Google charts indicate a visualization tool specifically for creating interactive charts for
embedding online. Data visualization is an important part of visual literacy and multimodality. The tools
mentioned help people see, interact with and better understand data. Right visualization can bring
everyone on the same page regardless of their expertise. To further broaden our study on multimodality,
let us look at digital storytelling. Digital story is a personally meaningful narrative that combines digital
images, audio as well as video using multimodal resources in order to create and share stories for a
potentially wide audience. It is important to have visual literacy to know how images can be used to create
particular meanings. The video which we are going to play here is a digital story made by the website
Quint to mark 70 years of partition of India which unfortunately had occurred for the countrymen in 1947. It
uses videos of people, text and images to explain the traumatic event. Life in that village was very good
and you start to miss all that. You start to think about what was it like over there. We start to dream about
it. I still dream about it and when I'm talking to you the picture of my village is moving in my head. So, that
trauma with time has increased. Data visualization and digital storytelling are two impactful examples of
digital multimodality. However, in digital media there can be certain limitations in the context of design.
One of the ways in which these constraints can be overcome is through hypertext and linking that cannot
be available in only the print based media. And this has a profound effect on the way the writers can
structure and organize information and the ways in which readers can navigate their way through it. The
term hypertext was coined by American sociologist Theodor Nelson in his book, Literary Machines.
Hypertext is an electronic text which is hyperlinked to another electronic text on the internet. It allows
readers and writers to make use of the hypertext links to organize electronic texts in a non-sequential way
depending to a large extent on the choice made by the reader while going through that particular web
page. Hypertext links provide order and structure to texts in two different ways. Either they can be
internally linking or they can be externally linking. Internally linking means different parts of the same text
are linked in a logical way and the external linking suggest that the texts are externally linked to other
texts on the internet. In this way, electronic texts can reference and include prior texts through hyperlinks
that make them accessible with minimal effort on the part of the reader. Let us also analyze at this point
the ways in which people use hyperlinks to internally organize online texts. It can be hierarchical, linear or
hypertextual. Hypertext which are organized in a hierarchical structure have hyperlinks arranged like a
menu or a tree-like outline. This arrangement allows readers to see the entire organization of the
document at a glance and easily navigate to the part which they feel is the most relevant for their needs.
In linear structure, part of the text are organized in a specific sequence which readers have to follow and it
is a very common practice to use this structure in online learning sites or also while we have to fill out
surveys or different types of forms. In hypertextual structure, parts of the document are linked to other
parts of the document or other documents on the internet based on relationships of association. For
example, some key terms are highlighted and linked to related pages, definitions or elaborations of terms
or concepts. The online shopping texts as the visuals on the right hand side of the slide illustrate make
use of combination organizational patterns. Most digital texts use a combination of hierarchical, linear and
hypertextual organizational patterns to make them more attractive. Hypertext links can also serve to
organize an online document externally by associating the text with other texts on the net. It could also
imply a set of relations. So, what are the relations which can be implied through the use of external
hypertext links? It can be cause and effect, comparison or contrast. It can be an example, sequence or
evaluation. Organizing text externally allows writer to juxtapose different texts to create unexpected
associations or contrasting viewpoints in a critical way. Hyperlinks can subvert the neutral objective style
and can also help the reader to think critically as different examples given in the pictures on this slide
suggest. However, hyperlinks are also critiqued for compromising the logical manner in which
conventional texts are read. Hypertext and all other modalities that we have discussed earlier converge
together to form multimedia. Access to multimedia information has become the principal motivation behind
communication networks today. Interactivity is the keynote behind multimedia. Graphics, visualization,
data compression and networking all have important contributions to make in multimedia. Now, let us look
at the fundamentals of multimedia and its basic components. As we have suggested earlier, multimedia
refers to the convergence of multiple modalities for the purpose of interactivity. These modalities are put
to use in video conferencing, augmented reality, entertainment and infotainment, digital libraries,
reference sources and health applications. Main features of multimedia include navigation which enables
the user to explore and navigate from one page to another. Hyperlinks suggest a non-linear navigation of
jumping for the requited information to make it easy to use and understand. Most of the websites display
all these features in the form of advertisements. They employ multimedia features to market merchandise
or to offer services online. Creating effective multimedia presentations includes planning the content,
visual designs, creative integration of modes, layouts and effective use of software compatibility, as well
as of course accessibility. Let us look at the types of multimedia, its applications and how it can be
personalized for synchronous or asynchronous communication. One of the most effective components of
multimedia for presenting information is of course the text. Text and multimedia are used in messaging,
advertisement, subtitles in films, etc. Font editors and design tools are used to specifically create or
modify font files. It includes ResEdit, Fontographer, Font Monger, etc. Hyperlink text connects non-linear
information. Digital audio enhances multimedia applications by supplementing images, animations, video
and presentations. The method used for digitizing sound is called sampling. Audio file formats include MIDI
that is Musical Instrument Digital Interface, Apple's AIFF that is Audio Interchange File Format,
compressed formats like MPEG, etc. Sounds can be mono or stereo. Mono sounds are flat and unrealistic
whereas stereo sounds are much more dynamic and lifelike which can be further enhanced using sound
editors. At this point, I think we should look at images and the fundamentals of animation that have now
become vital to multimedia applications. Their importance cannot be overstated. Graphics refer to any type
of visual representation displayed on digital systems and screens. Image file formats include GIF that is
Graphics Interchange Format, PNG that is Portable Network Graphics or JPEG that is Joint Photographic
Experts Group. So, the categories of digital graphics includes bitmaps, vectors and animated graphics.
Bitmaps are maps of binary color information which is stored in a grid of points or pixels. Vectors are
computer generated drawings used to create graphics such as detailed drawings of plans and maps.
Computer animation or CGI animation is the process used for generating animated images by using
computer graphics. Some principles of animation include anticipation, squash and stretch, arc, staging,
slow-out and slow-in, and exaggeration, etc. In the visuals given on this slide, we can look at the
definitions of these principles of animation. Animation is a broad field that encompasses various
techniques and styles and one has to choose the animation tool best suited for the purpose and then build
and tweak the discussed sequences. Before the advent of computer animation, cell animation was widely
used. The primary difference is that the latter relies on animation software programs along with the frame
of animation provided by the animator. So, there are normally two terms which are basically used,
keyframes and tweening. Keyframes are the most important poses or positions within the animation and
tweening involves drawing the frames that come between the keyframes to create the illusion of smooth
movement. Kinematics and inverse kinematics are techniques used in animation to position a specific part
of a system in a desired location and to study the movement and motion of structures that have joined
such as a walking individual. Morphing refers to the process of smoothly transforming one image or shape
into another. Morphing applications can perform transitions not only between still images, but often
between moving images as well. Besides text, images and digital audio-video is one of the most engaging
modalities of multimedia venues. Unlike analog video which is played using physical media or signals,
digital video is stored, transmitted and manipulated electronically. Let us look at this idea somewhat in
detail. Video places the highest performance demand on any computer system. Digital video as we have
discussed is stored and transmitted in the digital format that is primarily the binary codes. It is used in
television broadcasting, filmmaking, video streaming, video sharing platforms and video conferencing.
Video recording in a multimedia project involves choosing a shooting platform, storyboarding that visually
outlines the project, lighting, composition and editing. Video editing is the process of manipulating and
rearranging video shots to create a new work. Non-linear editing that is NLE makes use of computers with
video editing software such as Avid, Final Cut and Adobe Premiere. Videos can be compressed using
standards like MPEG-4 and HEVC. The video that you are viewing now that is the module itself is also
recorded, edited, compressed and digitally streamed. We will discuss more about digital video platforms
and the use of visual rhetoric in the next module. Now let us take an example of multimedia elements in
digital comics that have created a new reading experience by providing new avenues for storytelling,
engagement and creativity. Digital comics incorporate multimedia elements. Panels can transition
smoothly, characters can move and objects can also be animated, bringing the static things to life. They
often include sound effects accompanied by audio effects. This feature adds an auditory layer to the
visual narrative, making it more engaging. For example, explosions, footsteps or dialogue bubbles which
are popping up, etc. It also contains voiceover narrations and background score to add emotional depth to
the narrative. It can also view 3D models of characters or objects using VR technologies. Digital comics
can also take advantage of hyperlinks to provide additional context or reference to related content. With
the advent of the internet and the World Wide Web, it has become easier to access and share multimedia
documents and it has led to collaborative developments like joint editing and multi-user presentations
such as conferencing, training, tele-learning, etc. Let us see how multimedia contributes to the World
Wide Web. The first tool we refer to is plugins which are software components that add specific features
or functionality to an existing software application like web browsers and video editing tools. The web can
support any graphic format that client and server have in common including GIF, PNG and JPEG. Most
web browsers allow embedding of sounds into documents using the audio tag. Programming languages
like JavaScript make web page content dynamic, allowing user interaction and animation. Multimedia
cloud computing paradigm allows users to store and process their multimedia data in the cloud in a
distributed manner. We will learn more about cloud computing and communication when we talk about
artificial intelligence in the coming modules. What we have to understand is that the World Wide Web is a
well-known example of a hypermedia system. We have already talked about hypertext and links and now
let us see how these hyperlinks form an important part of multimedia in the form of hypermedia and its
applications. Hypermedia extends the concept of hypertext to describe the form of multimedia content that
incorporates links or hyperlinks to other related resources. It includes text, images, audio, video or any
other type of digital media content. It is often associated with the concept of the Hypermedia As The
Engine Of Application State principle in web development which suggests that a hypermedia driven
application should provide information about available actions or resources through hyperlinks embedded
within the response, allowing the clients to dynamically navigate and interact with the application's
resources. Some of the examples include the World Wide Web itself, e-commerce applications, Google
maps, as well as different types of interactive tutorials. Let us take a real world application of hypermedia
on e-commerce platforms. Hypermedia applications can greatly enhance the e-commerce experience by
providing interactive and interconnected content, offering a more dynamic and engaging shopping
environment for users. Let us see how this is brought into utility. E-commerce platforms use hypermedia
to create dynamic and interactive product catalogs and the e-commerce businesses leverage hypermedia
to offer augmented reality try-on experiences. The websites integrate hypermedia elements to connect
with social media platforms and instead of static shopping carts, e-commerce platforms employ
hypermedia to create interactive shopping cart interfaces and personalized recommendations. The graph
which we are showing on the right hand side of the slide shows the acceleration model of e-commerce.
This shows how the global pandemic caused online holiday shopping to skyrocket in ways no one could
have predicted before the lockdowns had started. Since then, there was no turning back and hypermedia
has become key for retail e-commerce growth. This resulted in a sharp rise in ad revenue as well as
privacy concerns for the user. This brings us to the final topic in the module that is content management
and security of multimedia systems. Multimedia content management provides a structured approach to
manage and categorize various types of multimedia data like audios and visuals and this is done through
what is known as DS or the description schemes. DS or description schemes refer to the systematic
methods and frameworks which are used to describe and organize multimedia content. The types of
information which they describe are presented below as creation information, media information and
usage information. Creation information describes the creation and classification of the audio visual
content such as genre, subject, language, creators, etc. Media information describes the storage media
such as the format and coding of the AV content. Usage information describes the usage information
related to the AV content like usage rights and financial information. The categorization of description
schemes is to enable efficient indexing, searching and browsing of multimedia content within a collection
of database. However, the fundamental problem of communication is reproducing the multimedia content
either exactly or approximately. This poses the question of how the security of multimedia content can be
secured. Piracy is a growing potential threat and some of the ways in which it can be reduced is through
watermarks and copyright protection. Watermarking is a technique which is used to embed information or
a mark into digital media. Image watermarks involve embedding a logo, symbol or any other graphical
element onto the content to identify the source. Invisible watermarks or digital watermarks are embedded
within the content and are not easily detectable by ordinary visual inspection. Audio watermarking is a
technique which is used to embed imperceptible or semi-perceptible information into audio signals.
Watermarks, especially the invisible ones, can be used to verify the authenticity and integrity of digital
media. They provide a means to detect tampering or unauthorized modifications. Watermarking serves
several purposes in which copyright protection is the most prominent one. Let us look at IP rights, that is
intellectual property rights and copyright more closely. IP rights are legal rights that are granted to
individuals or entities for the protection of their creations or inventions. This includes content like software,
digital art, music and video, etc. It can be divided broadly into two general categories. The industrial
property includes inventions, patents, trademarks, industrial designs, geographic indications of sources,
etc. Copyright includes literary and artistic works like novels, poems and plays, films, musical works,
artistic works like drawing and photographs and architectural designs. Because of its high economic
value, copyrighted entertainment content needs to be protected as long as the customer demand is
present in the digital markets. End-to-end security is the most critical requirement for the creation of a
new digital market where copyrighted entertainment is a major product. Digital media including text,
images, videos and music are automatically protected by copyright when they are created, but it is
advisable for creators to register their works for additional legal protection. Digital rights management or
DRM technologies are used to control the access, use and distribution of digital media. Copy difference
mechanism is adopted to discourage unauthorized duplication and distribution, tracing unauthorized
copies to the original owner of the work or track the owner of the infringement. Digital media faces
challenges from unauthorized copying, distribution and sharing which is commonly known as piracy. This
can lead to financial losses for content creators and distributors. Antipiracy measures such as DRM
technologies and legal actions are employed to combat piracy. Multimedia and its multimodal
communication have impacted and been incorporated into the lives of people on a daily basis. With the
emergence of high speed and high quality networks, multimedia communication has become an extension
of the existing mono media systems. The objectives of multimedia system are to send and share
information and educate the public and also to provide entertainment. Communication research has
shown that the combination of communication modes offers great understanding and retention of
information. And multimedia makes use of multiple modes as we have discussed earlier. Virtual reality or
VR is an extension of multimedia format at the convergence of technology and basic multimedia elements
like imagery, sound and animation. As progress continues to be made in this field, it is necessary to
amplify consumer interest in this particular form of communication. Multimedia has become a major theme
in today's information technology by merging the practices of communications, computing and information
processing into an interdisciplinary field. Networked multimedia communication is a confluence of two
technological trends, multimedia computing and networking. The challenge of multimedia communications
is to provide applications that integrate text, sound, image and video information and to do it in such a way
that preserves the ease of use and interactivity. Multimedia software enables the creation, editing,
playback and management of multimedia content effectively. It also poses some limitations and
challenges like information overload, compilation time, additional expenses and the extensive use of
bandwidth in some cases. In the next module, we will discuss about the technological developments that
have led to the socialization of the web. We will look at Web 2.0 that is the social web that we know and
experience today in the context of typical channels of communication like blogs, wikis, podcasting. We
will also be discussing the new generation of web called the semantic web.

In this module, we will be discussing the technological developments that have led to the socialization of
the web. We will analyze most often used channels of communication like blogs, wikis, podcasting as part
of the digital rhetoric and also about the new generation of the web that is known as the semantic web.
The tools which are labeled as social software have introduced a new dimension to searching and other
personal applications on the web. Social software or the social aspects of software become relevant
because they have a major impact on how people digitally connect with other groups. This also brings us
to discuss the emergence of new phases of web known popularly as web 1.0, 2.0 and 3.0. The key
difference between web 1.0 and 2.0 is largely the internet. It is easy to get information on 1.0, but it is
inconvenient to act as an author in it. Web 2.0 primarily marks the convergence of technologies,
techniques and usage patterns in the three streams of application, technology as well as active user
participation and socialization. It has changed the way in which we perceive the web, interact with it and
also contribute by publishing our own information. Web 2.0 is referred to as the read or write web that
enables content to be read from the web and we can also add our own content to the websites. Web 2.0
is designed to be behavior based that adds collaborative dimensions to social networking. They are tools
designed for ease of use as well as for the rapid deployment. They are also termed as transparent
technologies that have exploited second generation WWW services. In the following video, we will see a
brief explanation of how the web evolved from web 1.0 to web 2.0 to have some clarity about this idea.
The short video from YouTube briefly explains how web 1.0 is characterized by static web pages where
the content is fixed and cannot be easily updated or modified by users. Websites were primarily one way
communication platforms built for informational purposes only. However, we find that web 2.0 has changed
it to a much more interactive manner. This video talks about the evolution of internet dividing it into
different phases. Web 3.0 will also incorporate AI and ML technologies to increase data processing
speed and problem solving. Let us look at the video now. The web has evolved significantly over the
years and today's applications are barely recognizable from the early days. The evolution of the internet is
often divided into three phases, web 1, web 2, and web 3. What is web 1? Web 1 was the first iteration of
the web. Most of the participants were consumers of the content and the creators were usually the
developers who created the website containing the information provided primarily in text or image format.
Web 1 lasted from about 1991 to 2004. Web 1 consisted of websites that provided static content rather
than dynamic HTML. The data and content was provided by a static file system rather than a database
and the website wasn't very interactive. You can think of web 1 as a read-only web. What is web 2? Most
of us are primarily experiencing the web in its current form, commonly referred to as web 2. You can think
of web 2 as an interactive and social web. In the web 2 world, you don't have to be a developer to
participate in the build process. Many apps are built to be easy for anyone to create. If you have an idea
and want to share it with the world, you can. If you want to upload a video and have millions of people
watch it, interact with it, and comment on it, that's possible. Web 2 is really simple and because of its
simplicity, more and more people around the world are becoming creators. When the video transitions to
web 2.0 advancement, there is a stark difference in the visual appeal of the web. It has become dynamic
and is seen used by multiple users. In 2.0, users are not only consumers, but are also creators of content.
So to say, content has become decentralized, allowing even non-technical users to easily create and
publish their own content. And it is this context which is particularly useful for those scholars who are
working in the field of media, communication, and also literature. It is said that we cross the threshold to
the third generation web in 2007. Web 3.0 is known as the intelligent web as it incorporates AI and ML
technologies to increase the speeds of data processing, etc. Examples can be seen in blockchains as well
as in cryptocurrency payments. However, we have to admit that these terms lack in specificity. Web 2.0 is
a phrase coined by O'Reilly Media in 2004 and Web 3.0 is a phrase coined by John Markoff of the New
York Times in 2006. As we have discussed earlier, the essence of Web 2.0 lies in utilizing and
appropriating data and data streams for deriving new information or added value. It is a service-oriented
approach to create rich internet applications known primarily as RIAs. At the same time, we find that
tagging, blogging, and wiki-ing , etc. are known as important steps into the socialization of the web and
have become immensely popular amongst the people. O'Reilly had defined Web 2.0 as a network that
delivers software as a continually updated service that gets better as more people use it. He called this
phenomena as perpetual beta. Wikipedia and blogs are typical examples of Web 2.0. The figure in the
slide shows blogging sites as putting more emphasis on data and socialization. While Wikipedia shows
advanced functionality, Web 2.0 technologies such as blogs, wikis, podcasts, and feeds are commonly
referred to as social software as they are characterized by a high degree of connectivity, affording users
an opportunity to collaboratively develop the web content. A term which is very popular nowadays is a
social software. The term had come into use in 2002 and is normally attributed to the writer, Clay Sharkey
who simply defined it as software that supports group interaction. It has brought an altogether new
dimension to searching in web-based applications by allowing us to add personal search logic to machine-
based algorithms. As we have discussed earlier, social software gets better as more people use it.
Software as a Service paradigm combines community and subscription models while social software
combines transactions, advertising, and community models. For example, Discord, a communication
platform primarily focused on gaming communities has been known to operate in a perpetual beta state. It
regularly introduces new features, improvements, and changes based on user feedback, creating an
evolving and dynamic user experience. Before coming to user participation and socialization of the web, let
s have an overview of the web languages which are used for web development. These languages are the
backbone for creating the content and the structure of the web pages. There are primarily two languages
known as HTML and XML. Also we would talk about CSS or Cascading Style Sheets. In the table on the
right hand side, you would find that the major differences between HTML and XML have been explained.
So HTML uses markups or tags to transport information about the structure and presentation of a page.
Hypertext network analysis or HNA is a social network analysis that looks at how websites form relations
with one another via hyperlinks. XML is seen as a meta language or a language framework which is used
for specific applications such as news, business, biology, etc. Cascading style sheets can be applied with
both these languages to style and format the visual presentation of the page. The competing browsers of
Mozilla, Opera, Microsoft, and others have over time to come to define their own tags like HTML to
resolve issues or just in the hope of gaining competitive advantage through the support of a richer set of
features. When it comes to XML, the applications extend to web servers and web feeds. Web server is a
stand alone software component with a uniform and unique resource interface known as URI to
communicate and exchange data over the internet. Web feed is a data format used for publishing
frequently updated content to interested users and it is this aspect which is particularly useful for scholars
in our areas. The most commonly used formats for web feeds are RSS and Atom. RSS stands for Really
Simple Syndication which is a web format used to publish web contents like blogs, news, etc. RSS
aggregator can show multiple web sources in one place and RSS reader checks the original sources
regularly and can download the updates. In this way, it enables the reader to keep up to date with a whole
series of sources of information without having to check it again repeatedly. The images given show BBC
Sports RSS feeds to allow users to stay updated with their latest content. By subscribing to feeds, users
can receive automatic updates whenever new articles or content are published. Once we have subscribed
to the desired BBC RSS feeds, we can use a feed reader or aggregator software to manage and view the
updates. Atom was designed as an alternative and improvement to the limitations of RSS and we can also
combine RSS feed with platforms like Twitter. We can tweet our headlines by using an application called
Twitter feed to push our blog s RSS feeds directly to Twitter. We will discuss more about microblogging
and Twitter in the coming modules. P2P or Peer-to-Peer network is a distributed network architecture in
which participants who are referred to as peers share resources and directly interact with each other
without the need for a centralized authority or survey. Unlike the previously discussed languages, HTML
and XML, it does not follow a client or server software paradigm that initiates conversation by sending
requests to servers and accepting requests from clients. It uses a decentralized framework like Bitcoin,
BitTorrent Sync, etc. However, we have to be aware that in different societies and countries, there are
different legal frameworks to support and put certain balances against it. Rich Internet Applications or RIA
are web-based applications that provide enhanced functionality and user experiences similar to traditional
desktop applications. Utilizing a combination of technologies such as HTML, CSS, JavaScript, etc., they
deliver a rich and dynamic user interface. Popular examples of RIA include streaming platforms like Netflix
and Spotify, online marketplaces like Airbnb and note-taking applications like Evernote. All these
applications provide rich user interface with features like personalized recommendations, playlist creation
and text formation. People have got used to the web as a medium of communication as well as a medium
of socialization. Also, we use it as a business platform, discussion forum and as a constantly growing and
expanding encyclopedia. Now, let us see the ways in which web has been increasingly used as a medium
and also about the user participation and contribution when it comes to the socialization of the web. All of
us are familiar with Wikis and we know that they are online collaborative tools. All of us are very well
familiar with the best known Wiki, Wikipedia. Wikis fall into three categories. They are free wiki services,
no cost, etc., quick startup and a person with minimal technical know-how can easily use and operate it.
There are fee-based services which require advanced management capabilities, but at the same time,
they have certain added security features, but of course, certain cost is also involved. The third category
is that of the self-hosting category which allows maximum amount of control and for using it, one should
have one's own server. They also require end-user training. The first site to use the term as Wiki Wiki web
was created by Howard Cunningham. So Wiki is an editable web page or a collection of pages that does
not require much technical competence or control over any computer language like HTML. However,
before selecting a particular Wiki, it is important to be familiar with the features that distinguish one Wiki
service from another and also the prerequisites for setting up the Wiki. Wikis can be either internal or
external. For example, external Wiki is visible to everyone on the web without having to log in where
internal Wiki is visible only to those who have an access through password. Setting up the Wiki involves
three basic steps which include setting a Wiki service, determining the Wiki's URL and inviting
contributors. Media Wikis are a free and open source Wiki software applications specifically designed for
collaborative editing using media elements like images. One of the key aspects of Media Wiki is its ability
to create an interconnected network of articles through internal links. It supports the use of templates and
consistent formatting across multiple pages through hyperlinked articles. Now let us get an overview of
how Wikis and Wiki clones are used in the professional and corporate world through specific instances.
We will discuss the case of Twiki which is a Wiki clone aimed to corporate and professional use as a
knowledge base for technical support. It has helped to increase the information flow between offices and
was basically deployed for customer support. It was used in Motorola Systems-on-Chip design
technology as a team communication tool on the corporate intranet. The different ways in which the Wiki
navigated the multi web environment are as news groups, meetings, calendar, issue lists, rapid production
of web pages, etc. Social software like Wikis enable the creation of communication and allow people to
contribute more knowledge or correct details in existing knowledge for which they are experts.
Interestingly it is also for this reason that they can never be considered as a primary or a very authentic
source. Wikis are collaboratively edited by multiple users which means that anyone can contribute and
also can modify the content. This lack of centralized control raises concerns about the accuracy and
reliability of the presented information and there is no guarantee that the information given on a Wiki page
has been either fact checked or verified by experts in the field. Wiki pages can change frequently and the
content is also continuously evolving. Maintaining quality control therefore is a challenge especially for
smaller or less actively monitored Wikis. However, quality control is needed to minimize misinformation
and biased content, providing users with trustworthy and credible information. But they still have a
learning curve especially for users who are unfamiliar with the Wiki software or editing conventions. User
friendly interfaces and community support which is available to Wikis provide immediate feedback
showing the results of edits in real time. This quick feedback loop helps newcomers gauge the impact of
their contributions and learn from any mistakes they might have made. It is important to consider the two
sides of the coin when it comes to Wikis. Just like Wikis, weblogs or blogs are communication forms that
have contributed significantly to the read and write nature of the web. We shall have a closer look at blogs
as a user generated content and how it is significantly different from Wikis. Primarily, blogs are
expressions of personal or professional opinion or an individual perspective on which other people can at
best comment. They differ from the Wikis as the Wikis allow users to extend, modify, update or even to
delete content. Blogs can also be external or internal. Internal blogs are hosted within a larger website or
platform which is maintained by the organization that owns the website. External blogs are standalone
entities that operate independently from any specific website or organization for a broader audience.
WordPress is the open source blogging software that is typically used as personal publishing platforms
and is often used by young authors, poets and story writers, etc. The images show popular examples of
blogs like HuffPost, TechCrunch and Lifehacker. The blog is a good example of how an enterprise can
develop new strategies for communication. For example, HuffPost is a news and opinion website that
mainly covers topics like politics, entertainment and lifestyle. TechCrunch is a leading technology blog that
focuses on the latest trends, news and analysis in the tech industry. The degree of interactivity in a blog
mainly depends on the blog publishing software. Let us take WordPress as an example. WordPress is a
self-hosted software that is installed and operated on a user's own server or hosting environment with
which you edit online. It uses the dynamic publishing method which enables you to update your website's
content on without manually editing HTML or any other code. It is a content management system that
supports blog features like ping notifications, podcasting, permanent links and multiple authors and
registered visitors with the privilege to comment. It also provides themes and plugins that allow users to
customize the design, layout and functionality of their websites such as e-commerce, search engine
optimization, social media integration, etc. We will learn more about social media integration and
microblogging in the coming modules. Let us now look at another communication tool of social software
that is podcasts. Podcasts have been used as a means of syndicating audio material in a variety of ways
and have become immensely popular with the young people. Although podcasts are restricted in their use
of multimedia elements, they are widely used as a venue for reaching out to users and connecting them
with the information that they might seek. So, podcasts are basically digital audio or video files that are
available for either streaming or downloading. They are typically episodic in nature with new episodes
being released regularly and they may cover a wide range of topics including news, storytelling,
interviews, education, entertainment, personal lives, etc. and many more. Podcast production involves
outlining the structure and flow of episodes, recording using platforms like Zencastr and softwares like
GarageBand and Adobe Audition. Editing in the desired audio format is also required and choosing
podcasting hosting platforms like Podbean and submitting it to platforms like Spotify using the RSS feed.
The pictures show popular podcasting platforms targeted towards potential users covering different topics.
Now let us take some examples of popular podcast as case studies to understand the modes in which
discourses are conveyed through them. This includes popular podcasts like the Joe Rogan Experience,
the Michelle Obama Podcast and Serial. In the Michelle Obama Podcast, we find that there is a
characteristic combination of warmth and reason. She interviews celebrities, close friends and family
members and creates a sense of closeness with them providing a certain warmth and charm during her
podcasts. Serial is an investigative journalism podcast and as we can easily imagine the narrative
consists of exploring various aspects like witness testimony and evidence etc. However, ethics of crime
podcasts can sometimes be questionable as though they promote social justice, they also utilize different
media tactics to gain popularity. The Joe Rogan Experience is a blend of comedy, controversy and
ideological whiplash. His audience is chiefly young male audience that advertisers covet. His guests are
usually provocative, they appeal to the young people who do not support the mainstream politics. He has
become a mass cultural product with over 11 million listeners per episode. What we have to understand
here is that most podcasts employ the business model of finding an ideological space connecting via
cross-promotion and guest selection with similar shows and allowing the algorithms of social media,
finding the target audience is important to drive traffic their way. Another social software that has
introduced new dimensions to searching and other applications on the web are tags and social
bookmarking. It had an interesting impact on online search and let us see how. Tagging refers to the
practice of assigning descriptive keywords or labels to web page, online content or elements within a web
page like photos or links. Tagging can be categorized into two practices based on the user incentive. They
can be organizational or social. The names or the titles are self-explanatory. Organizational are used as
an alternative to structured filing for personal purposes using common tags created by others. Social
expresses the communicative nature of tagging where the tags are byproducts of opinion, self-expression,
play and competition. There are various dimensions to tagging. For example, the tagging rights can be
permission based, free for all or self-tagging. The types of objects can be either textual or non-textual.
Other dimensions include tagging support which decides who can view the tags associated with the
resource and also type of connectivity that is whether to link resources or to connect socially. The
pictures given show how popular social media networks like Facebook and Twitter use hashtag and at the
rate of to tag users and keywords. Social bookmarking sites like Delicious also use tagging which we will
discuss later in the module. Now, let us take a case study of how social tagging first evolved through the
social media platform Flickr. Flickr is a web-based community for organizing and sharing photos which are
publicly viewable and discoverable by default. Tags are treated separately in search and specific URIs
treat tags differently. For example, explore contains photos that have been selected by Flickr algorithm to
be interesting. Photos URI is the way to all photo resources on Flickr and the tags subfolder is one way in
which photos are structurally accessible. Tagging rights are restricted to self-tagging to navigate similar
resources and people and tag clouds show popular tags of all time with the size of each tag indicating the
frequency of use. Some studies also show a correlation between social affiliation and tag vocabulary
formation. So, this commonality could arise from similar descriptive tags even if the photos are of
completely different manner. However, in recent years the popularity of Flickr has declined and we find
that social media platforms like Instagram have grown in popularity. As they have better streamlined
photo sharing experiences. Now let us talk about social bookmarking and folksonomies. Social
bookmarking allows users to save, organize and share bookmarks or web links to various online
resources such as websites, article, blog post, images etc. It also classifies content by means of user
created tags as well as AI algorithms. The integration of social bookmarking and tagging in turn led to the
idea of folksonomy. Folksonomy is a user generated taxonomy, an arrangement of information into groups
admitting an unrestricted vocabulary for tagging objects. They characterize a bottom-up consensus on the
basis that a system of largely agreed upon terms evolve from collaborative tagging which co-exist next to
personal and minority categories. Another defining characteristic is flat-name space causing it to develop
into a non-hierarchical and non-exclusive collection of tags. Folksonomies represent an important
development in the direction of creating a common understanding agreement and maybe even trust within
communities on the web. Let us now consider some examples of web service and platforms that fall under
search engine optimization or SEO services. We will look at the examples of web services like Delicious,
Plurk and Pinterest. So the details of these services are mentioned on the slides since they are very
popular sites and almost everybody is aware of them, I will skip the details. If there are any further
questions about it, it may be asked during the discussion session. Many other websites like Twitter and
Reddit offer approaches under the social bookmarking umbrella to curate, tag and share content with the
added benefit of search engine optimization. Data and data streams are one of the core features of the
web today and this is mainly because it shows the monetary and commercialized side of the media
materialized in the form of electronic commerce or e-commerce which we have already discussed in the
previous module. Data is generated automatically in many applications and is collected on purpose by
applications such as search engines or satellites, sometimes even by several private players including the
dark web. This brings us to the topic of data ownership and of course several other related problems
which we shall be discussing in the next module. When we talk of data ownership, we find that data can
be human generated where the data is collected or created by humans and uploaded and processed by
machines or it can be machine generated where data arises by itself and is simply collected and stored on
the service of a company or a provider. Data ownership and collection is used for creating or adding
strategic value which includes creation strategies as well as access strategies for creating and owning
data and also to provide access to data that was previously difficult to find. Data ownership implies
responsibilities too like security management, data quality and management of business rules as well as
following certain ethical considerations. For example, in a system that contains sensitive data like
confidential information or corporate intelligence, it is necessary to define a security and authorization
policy for its enforcement. The pictures shown depict Google Street View as a service that enables
creation strategies by owning data that is difficult to recreate. This is because of the extensive geographic
coverage, technological infrastructure and privacy as well as legal considerations. For a search to be
perfect, it needs to be ubiquitous that is it should search everywhere on the web taking also the personal
intentions and preferences into account and this is the point where the semantic web enters the picture.
So, what is the semantic web? It is an extension of the current web that aims to enable machines to
understand and process the meaning or the semantics of information on the web. Semantic web starts
with RDF that is Resource Description Framework, a standard data model that provides a flexible way to
describe the sources, their properties and relationships in a machine readable format. In the context of
semantic web, ontology refers to a formal representation of knowledge that defines the concepts and
enables machines to understand and reason about the meaning of data and information on the web. Let
us listen to a video about the semantic web to have a clearer idea about it before we get into its details.
The video is a one minute series on YouTube whose content mainly focuses on the web 3.0, Metaverse,
blockchain and machine learning. This video explains the goal and benefits of semantic web. The
semantic web is a vision about how to make the world wide web even better by giving software programs
machine readable metadata and data about the information and data that is already on the internet.
Computers would be able to use the semantic web, which would add more information about what is on
the web, in the same way humans use information to make sense of things and achieve our goals. The
goal of the semantic web is for computers to be able to manipulate information on our behalf. Tim
Berners-Lee came up with the idea for the semantic web and he says that the word schematic means that
a machine can do something with the data. In this way the semantic web can be seen as a knowledge
graph that is made up of connected, linked data and intelligent content. This allows machines to
understand and process content, metadata and other types of information at a large scale. Customer
experiences will get better and easier thanks to the semantic web. This is because the web will be able to
understand and show itself in the best way possible for each customer's unique needs. Semantic web
standards could be the key to a big change in the way the web becomes smarter. This means that the
content we post online could be shown in a way that machines can understand, connect and combine.
The semantic web enables web content to be linked in a way that connects related information across
various websites and data resources. This structured data representation makes it easier for machines to
understand the context and meaning of information. The primary goal of the semantic web is to enable
machines to process and understand the content of the web in a way that goes beyond simple keyword
based searches. The video clarifies that semantic web can be understood as a smarter and better
organized version of the web. Just like we use tags and categories to organize things in real life, the
semantic web uses special codes and functions to organize information on web pages. It helps search
engines and AI assistants to better understand the content and connections between different pieces of
information. Widespread adoption of the semantic web has been slower than initially envisioned and its
full realization still remains a work in progress. There are also search engines that use semantic web
technologies to improve search results and provide more contextually relevant information like Swoogle
and Watson Discovery . However, there is a gap between semantic ontologies and Web 2.0
developments like blogs and web pages. Let us now look at the ways to overcome this and some of its
applications. Semantic web acts as an upper logical layer that provides the semantics while Web 2.0 acts
as a lower physical layer that provides the syntax and technology. Microformats and collaborative tagging
are concepts that aim to bridge the gap between the two. We have given the example of how BBC has
created a semantic web based website for the 2010 FIFA World Cup and this example can be seen on the
right hand side of the slide. It had incorporated semantic technologies to gather and present information
from various sources in a unified manner allowing users to explore team statistics etc. in a better
structured way. Similarly, in the case of blogs, microformats can even introduce structure to an otherwise
unstructured text. So, we can see that the social software covers the aspect of user generated content as
it occurs in blogs or wikis in tagging as well as in social bookmarking. Socialization also encompasses the
software and the application that the software is providing. Search engine providers offer services for a
personalized search that aims at improving search results by taking the empirical information about the
user search behavior into account. And paradigms like SAS social software combine community models
with the business models to accumulate profit. The contemporary modes of artificial intelligence like the
chatbots are also an evolved form of social software. So, in this module we have looked at the evolution
of social software. We will discuss about the more contemporary modes of social network and their
enhancement in the coming module. In the next module, we will focus on the central role of artificial
intelligence as part of communication technologies. We will look at important breakthroughs, perspectives,
case studies, robotic communications and critical aspects related to it.

Artificial Intelligence and Digital Communication

Today, we shall focus on the central role of artificial intelligence as part of communication technologies.
As we all know, today artificial intelligence has come a long way from merely reproducing aspects of
human intelligence to a point where AI technologies can actually function as communicative subjects
rather than interactive objects. Individuals routinely chat with Amazon's Alexa, Apple's Siri and other
similar digital assistants. In the later modules, we will also discuss the communication modules used for
training them during our discussions on gender, race and artificial intelligence. The gulf between human
and machine communication now has been blurred. Let us see how AI has developed over the years,
particularly in the field of communication, what are the important issues and breakthroughs related with
this area. It was in the 1950s that the British scientist Alan Turing had proposed the famous Imitation
Game in which he had attempted to answer the question, can a machine think? The test involves an
interrogator who communicates with a human being and also with a machine with the help of a text-based
interface without knowing which is which. If the evaluator cannot consistently distinguish between the
human being and the machine, then the machine is said to have passed the Turing test and demonstrated
human-like intelligence. Shortly after this, Marvin Minsky and Dean Edmonds built what could be
described as the first AI computer. The possibility that machines can act as intelligently as a human does
is referred to as weak AI. In my NPTEL course on contextualizing gender, I have discussed the concept of
Alan Turing in detail. In fact, in 1950, Turing had said that in about 50 years, an average interrogator will
not have 70% chance of making the right identification between a machine and a human. This
immediately provoked a defensive attitude in some people to conclude that no matter what machines are
capable of, humans would always have an edge, they would have always something more. The Turing
test did not deal with issues related with consciousness or self-awareness. But since its inception, it has
become a cornerstone argument in the philosophy of AI. It laid the foundations for what is known as the
Chinese room problem. So what exactly is the Chinese room problem? This is a thought experiment and
a philosophical argument which was proposed in 1980 by John Searle. This argument imagines a person
who does not understand the Chinese language at all but can generate grammatically correct responses
using a rule book. It is very similar to how a computer program operates. Searle had argued that this
shows that even the most advanced computers lack true understanding or consciousness as they simply
follow pre-programmed rules. Searle was refuting the idea of a strong idea, that is the possibility that a
machine can simulate human thinking. However, the concept of technological singularity put forward by
science fiction author Vernor Vinge described the potential of machine intelligence to surpass human
intelligence. According to Vinge, technological singularity will revolutionize all previous structures of
human life and will instigate enormous changes within a very short period of time. Vernor Vinge was the
first author or critic to present the idea of a fictional cyberspace. His novels which became very famous
are True Names, The Peace War and ultimately A Fire Upon the Deep which were published during
1980s and early 1990s. He propounded the possibility that AI and machines will one day be capable of
self-improvement and would also be able to seed a generation of computers which are far superior to the
human intelligence. We look at this concept frequently in fiction and movies. Also several scientific
researchers are moving in this direction where chips can be a part of human body for several purposes.
This idea has been foreshadowed by technological singularity. Humans will transcend their biological
nature and will be in a coexistence with machines. So what is the concept of technological singularity? It is
a hypothetical future event in which artificial intelligence will have surpassed human intelligence leading to
a rapid and exponential increase in technological development. Once we create a machine with the ability
to improve its own intelligence, it could undergo a self-reinforcing cycle of improvement leading to ever
increasing intelligence at an exponential rate and this is termed as intelligence explosion. The speculated
ways to augment human intelligence include genetic engineering, AI assistance, direct brain computer
interfaces and mind uploading. The clip that we saw is from the 2014 movie Automata directed by Gabe
Ibanez. The movie shows technological singularity by building robots which have been designed to
rebuild the world even in a highly hostile environment. It pushes the boundaries of the rights as well as of
responsibilities as far as human beings are concerned and also I would say for machines. 1980s saw a
revival in AI due to the development of expert systems designed to deal with specific domains of
knowledge as well as the parallel development of robotics. The advent of wireless made network
computers and distributed intelligence are reality. Ongoing research aims at realizing the embodiment of
AI system either as a real version of the world or a virtual one or even a simulated world. New sensory
inputs and new means of communication for humans have sprung up. This means that the age of cyborg
that is part human or animal and part machine has commenced. Indications are there in digital ways of
communication. A cyborg or a cybernetic organism has integral technology implanted within them which is
linked to a computer. Modern AI is part of rational AI which means that it can act intelligently and can
think in its own right. Certain examples may be cited in this context. For example, ANN or artificial neural
networks that simulate the function of biological neurons etc. Artificial life in the form of physical robots,
genetic algorithms that can describe a person's unique genetic makeup. The picture on the right hand side
shows a prototype of primo posthuman. This is a prototype future body which has been created by the
strategic designer Natasha Vita-More. It shows a completely robotic body with nano engineered spinal
communication system that works under the guidance of network AI. It is a cyborg body whose
consciousness lives inside a robot. Vita-More is a transhumanist who actually upheld the view that
through future technologies humans can transcend their current physical and cognitive limitations. The
following video is an excerpt from a podcast episode of the Futures where the transhumanist Natasha
Vita-more and Max More talk about how we can leverage advanced technology for human enhancement,
the philosophical concept of morphological freedom and also about body prosthetics. What the
possibilities of morphological freedom could actually look like. Yes, and the way I saw it, that was in 1996
so it seems like eons ago. I don't even do any artistic endeavours. Maybe my life has become my art, I
don't know. But with primo posthuman the idea was to design a whole body prosthetic as a prototype for
the future. Designed with the emerging and speculative technologies and ponderings of science in
reversing and mitigating aging etc. But using nanomedicine before the term nanomedicine was even
brought up outside of Robert Freitas wrote the book nanomedicine. A lot of the ideas of maybe that
CRISPR has now with genetic engineering. But it wasn't only that, it was about encryption because in the
early 1990s we talked about on the XRP transhumanist email list, it was the first email list on the internet
on the future and that was really exciting. Encryption was something important. So Bitcoin was discussed
or cryptocurrency, taking a look at maybe blockchain. All these ideas originated from the purveyors of
that knowledge who have since been the adapters and entrepreneurs. But the idea of primo posthuman
was that we could have an alternative body that we could be interchangeable with biology. It wouldn't
have to be exclusively technological, it could be semi-technological, semi-biological. But I wanted to bring
up a point about morphological freedom that I think is essential. Max explained it very, very clearly. By
the way, there's actually a chapter on that I think in the transhumanism. One thing that's very important for
everyone to know and here is where I think that the news coverage since the 1980s and covering
transhumanism through the 1990s has gotten it a little bit wrong. Morphological freedom means that while
you may have the right to your body and to morph as you choose, a person also equally has a right never
to be coerced to enhance. And that's very important because the idea that maybe transhumanists think
that we should be perfect, whatever perfection is. I have no interest in perfection. I think it's a wasted
space because once you've reached perfection, there's no place else to go. But the idea that there'll be
the haves and the have-nots, the elitists, those who have morphological freedom or the money to do it
and everyone else will be an other, someone who's disregarded is a ridiculous notion. And I think that's
very obvious through the world we live in, the monetary economic system we live in. And I think Max
could explain, it's not just capitalism, but competition within products and the marketplace drives the price
down so that just about everyone today has a smartphone. But early on, only the elite, the rich will have
smartphones. Vita-More here explains the idea of the primo posthuman as a prototype for the future
designed as a whole body prosthetic. It talks about the whole concept of having an alternative body that
could be exclusively technological or semi-biological. It is thought that the capitalist economy will invest in
the concept of morphological freedom because AI will drive the society towards the idea of perfection.
Now that we know the history of AI and its present day embodiment, let us look at the different
perspectives through which we can analyze artificial intelligence related with digital communication. It can
be either a technology centric view or a human centric view or a perspective which can be termed as
collective intelligence. The technology centric perspective suggests that humans are biologically
constrained and therefore true intelligence can only be found in fully developed AI systems. Human
centric perspectives is just the opposite. It thinks that AI will never develop essential qualities like
empathy or moral reasoning and that true intelligence can be found only in humans. Collective intelligence
perspectives holds that true intelligence can only be found in the collective of human and AI entities. For
example, in the debate on climate change, followers of technocentrism are in favor of technological
solutions such as electrical cars and they are dismissive of behavioral solutions. Human centered
researches refute the claim that AI is free of human bias and capable of perfect reasoning. We will
analyze this aspect later in this module. Collective intelligence has also yielded novel applications such as
crowdsourcing to build software encyclopedias like Wikipedia and digital maps. Keeping this in mind, let
us look at how communication has evolved through these developments and manifestations of AI in the
field of digital communication in the current society. Nowadays we find that virtual assistants and voice
activated control systems make use of chatbots, suggesting that human computer interaction is moving to
a conversation interface and to a post app network where AI agents have replaced several physical
applications. Stock trading agents and fintech people make use of AI for detection of economic fraud and
for trapping prospective customers for various purposes. Physical AI applications can be seen in the
domain of embodied intelligence like robots, drones, etc. and AI development is also found in logistics to
optimize human resources such as healthcare and we can cite the example of DeepMind and HireVue.
Other examples may include social media which is now an integral part of digital communication footprint
and the use of AI in games which will be taken in detail in the coming modules. Looking from a human
centric perspective, it is important to understand that the use of AI has ethical implications too as over
reliance on it has put people under the threat of constant surveillance. Some consider it as a digital
panoptic society owing to constantly present electronic footprints. Let us take a case study of the failure of
Microsoft chatbot Tay that reveals the limits of AI agents in communication. The AI chatbot Tay was
developed by Microsoft to conduct research on conversational understandings and natural language
development. The platform was Twitter. However, we find that Tay became a remarkable example to
understand that communication also involves cultural context as well as the nuanced meaning of words.
AI systems feed off of both positive and negative interactions. If we look at the tweets which are seen in
this slide, we can also understand the reason of the failure of Tay. Tay had a shortened tragic life who
within the space of 24 hours turned into a genocidal, racist, sexist and homophobic being. Tay failed as
she was thrown into the deep end of the social media pool without the ethical and cultural capacities or
contexts to swim at that end. Looking from a technology centric perspective, AI has been increasingly
integrated into the gig economy platforms. A gig economy is a labor market that does not normally employ
full-time workers and relies heavily on temporary and part-time positions. So gig market is flexible but with
hardly any job security. And AI impacts the gig economy in several ways leading to increased automation
of tasks previously performed by human workers. Models of communication also change in gig markets.
Platforms such as Uber and Lyft have already started to experiment with self-driving cars which could
eventually replace human drivers altogether. As is apparent in this slide, we find that gig economy
platforms are digital and service based on demand. However, the AI systems can also potentially lead to a
reduced labor supply and loss of revenue for the workers as well as sudden ends of their career
perspectives. The following video shows the CEO of the gig economy platform Uber talking about the use
of AI in its advancement. It supports the points we have already discussed. We have seen algorithms,
routing algorithms when we decide to, let's say, batch a delivery order or not. Even technologies such as
recognition of your license or your insurance card, etc. All of these are AI driven and they have been a
part of how we operate as a company. What we are seeing now is that as these models get more capable
and larger, you can train them over much larger data sets. We would have an AI algorithm that is pricing
for city by city by city. Now our AI algorithms can price globally and the efficacy in terms of pricing and
matching is incredibly powerful. Because we have more data than anyone else across a multitude of
businesses, we think AI is going to be a very, very powerful tailwind for us. Virtual assistants like Alexa
were also accused of invading privacy, recording conversations and sending it to random contexts. Now
let us try to understand the key aspects of communicative AI technologies within HMC, that is human
machine communication. We will be looking at three dimensions, functional, relational and metaphysical,
as well as the implications of blurring the boundaries of what constitutes as human, machine and
communication. We will try to understand this with the help of key ideas used in conventional
communication and media theories. The functional aspect of AI has focused on creating AI technologies
as communicators and ensuring that people are able to perceive them within this role. To discuss this idea
further, I refer to the 2001 work of Manuel Castells, The Internet Galaxy. Castell has formulated the idea
of networked individualism, noting that new technologies have led to me-centred networks where
communication has become more personalised and privatised. We can cite the examples of Google News
or Flipboards etc, which use AI algorithms to personalise our feed. In an interpersonal communication,
the message is exchanged and synchronised between the human and the AI technology, removing the
human audience perhaps altogether. Technologies such as automated journalism like news writing
programmes are designed to fit into mass communication. In order to understand the relational aspects of
AI, we need to understand that people's interactions are unfolded within social contexts and they
understand AI in relation to these contexts only. This entails knowing about the social construction of
technology or SCOT. SCOT is a theoretical framework which has been developed by Trevor Pinch and
Wiebe Bijker in their work, The Social Construction of Technological Systems published in 1987. It
argues that technological artefacts such as AI systems can have multiple interpretations and meanings
depending on the social positioning of technology in relation to themselves. The concept of network
society was later developed by media theorists like Manuel Castells and Jan van Dijk. It refers to the
social structure and dynamics that have emerged in the contemporary era, characterised by the
widespread use of information communication technologies and the increasing importance of networks as
well as our increased dependence on them. In the network society, intelligence is distributed across
networks and it is not just the technology that defines modern societies but also the cultural, economic,
social and political factors. As we know emerging technologies of AI encapsulate the worldviews and
biases of their creator. Technology's ability to communicate and also to be a communicator automates the
communication process and it potentially erases the human that once stood in its spot and threatens
social processes that hinge on human communication. The automation of communicative labour threatens
to replace human affective labour with the mimicked creativity and care of machines. Jodi Dean in her
book, Democracy and Other Neoliberal Fantasies published in 2009 talks about communicative capitalism
that harnesses communication for economic and political control. Her central idea is that in the era of
neoliberalism, communication technologies have played a significant role in shaping political discourse as
well as mobilisation. Communicative AI is integrated into the domestic sphere as well. Introducing
machine into the domestic sphere serves the purpose of increasing value in this sphere. This shows that
there are social implications of representing the human within the machine, of automating the labour
surrounding communication and of adopting these technologies within spaces that are often the most
personal and meaningful. The study of AI is a challenge to existing conceptualisations of the nature of
communication and also of humans. The interconnected networks of communication and information
technology can transcend physical locations and shape our contemporary society. That is we are entering
into the next stage of evolution called the Internet of Intelligent Things where the embodiment of AI may or
shall evoke communication networks and behaviours that eliminate human supervision. Internet of Things
refers to a multitude of uniquely identifiable objects that are connected through the internet. It includes
the role of social networks, sensor networks as well as pervasive intelligent things like smart devices and
robots. An AI approach of IoT refers to a network of interconnected but decentralised physical devices
and objects that not only collect and exchange data but also have the ability to analyse and make
intelligent decisions based on the collected data. Taking social networking to the IoIT enables connecting
intelligent things to solve complex problems collaboratively. Different levels of services can be
established between the things by determining their relationships with one another and similarly this also
enables a seamless integration between the physical and the virtual worlds. Let us look at a few
instances. Social Internet of Things consists of intelligent objects that publish themselves as services
through online social networks and adapt the content to the users. The other aspect which we are
discussing here is the cloud computing. Cloud computing involves the delivery of on-demand computing
resources such as storage, processing power, software over the internet. For example, urban
atmospheres by Intel aims at multisensorial networks and community information for the ease in future
cities. One paradigm of cloud computing is cloud robotics which is designed to evolve based on its
acquired knowledge. Cloud robots are more portable, less expensive and have access to better
intelligence in comparison to an ordinary robot and for this reason their significance in the field of
communication is also to be evaluated carefully. The paradigm of sense-think-act is considered as an
operational definition of robotic communication. It outlines sensing the environment, processing the
information and executing appropriate actions. Rodney Brooks, a well-known roboticist has incorporated
the design principle of subsumption architecture or behaviour based robotics. She aimed to organize a
robot's behaviour into a hierarchy of layers for specific behaviours or tasks. The layers are arranged in a
way that lower level behaviours are subsumed by higher level behaviours but they can still exert influence
if necessary. Consciousness was relegated as an epiphenomenon. This later led to the invention of one of
the early social robots Kismet to explore human-robot interaction and social intelligence. We can look at a
photograph of this robot in this slide. The photograph suggests that Kismet's features are specifically
designed to encourage emotional responses from humans and this became the beginning of attributing
agency to robots and the emergence of social bots. Let us speculate on the sociality of social bots and
their role in promoting opinions on media platforms which has come to be termed as deliberative
democracy. I would refer to the concept of technological frame which is a socio-cognitive approach
suggested by Wiebe Bijker to study the convergence of communication and information technology.
Mediating structure shaping the interactions within a social group regarding a technological artefact and in
turn being shaped by these interactions and social bots are part of the technological artefact. Social bots
are liminal social entities that are situated at the threshold between humans and non-humans. According
to Latour, they are actors in the network of humans and non-humans who also have some agency and
share the material production of reality with humans. They are part of post cybernetic identity performance
as they can act and pass as human online. Social bots are developing a distinctive machinic sociality. For
example, Wikipedia has social bots for certain tasks such as combating vandalism, policing copyright
violations, etc. Social bots also have negative influences as through the proliferation and deliberately
designing and controlling our access to specific opinions only, they can easily sway the public sentiments.
Social bots also negatively define the boundaries of human sociality online. For example, in December
2014, Instagram had deleted a number of accounts in the name of being fake and a number of critics
termed it as Instagram rapture. The complex role of social robotics is entangled in the trajectories of
power and politics reminding us of what Lyotard had mentioned in his 1979 work, The Postmodern
Condition: Areport on knowledge. In his 1988 work, The Inhuman, Lyotard had again talked about the
dominance of technology and visiting a world where knowledge to be understood as knowledge has to be
translated first into data. Let us understand this further with the help of Habermas ideal of public sphere
and deliberative democracy. We will take up this idea further with the help of the theoretical stance of
Habermas, particularly his ideal of public sphere and deliberative democracy in the next modules. From
the standpoint of recent communication models, the machine has been theorized as having a degree of
agency in that it performs a distinct role during interaction. AI has become a communicative subject and it
is the subjectivity rather than interactivity that marks a significant technological transition. The role of
technology, particularly of AI is neither solely that of a communicator nor that of a medium that people use
to control, rather it is both a communicator and a medium. And therefore, communication as we see is
ultimately about the meaning that people derive in and through their interactions not only with people but
with people as well as machines. Culture, society and its power relations are always embodied within
technology and enacted within its use. Technology, communication, self and society intersect in many
ways and in turn shape relations with the world. In the context of digital communication, when we talk
about the intersections with gender and race, it also brings us to the emerging concerns of communication
capitalism and data colonialism. It makes the issues of ethical considerations in the latest intersection of
communication and AI vital and urgent. We also cannot ignore developments like chat GPT. In the next
module, we shall address these concerns and discuss them in detail.

Artificial Intelligence and Digital Communication

In the previous module, we had looked at the artificial intelligence, its evolution, different perspectives
towards it and its manifestations including certain theoretical aspects as well as certain case studies. In
this week, we will focus on social media along with different social networking sites like Facebook and
LinkedIn. Also, the concepts of blogging and microblogging to comprehend their role in shaping and
reforming our digital communicative spaces. Today's module extends the concept of AI further to
understand its social and anthropomorphic structure by referring to robotics and chatbots in the context of
digital communication. Interactive robots or social boats have become part of the present as well as our
futuristic communicative scenes. There is a strong innate feature in humans to recognize other humans as
well as to prefer human only interactions. That is why unlike computers and mobile phones, social robots
are built in the most human likeness. The key defining factor of a social robot is its ability to interact with
humans in a social and engaging manner regardless of its physical appearance. As we know, they can
have either a humanoid appearance or not. For example, chatbots do not have a concrete embodiment
but still engage users through their expressive responses. Social robotics is an interdisciplinary field which
focuses on creating autonomous robots that can interact and also communicate with humans as well as
with other robots in a socially acceptable and natural looking manner. It caters to designing machines
which are capable of understanding human social cues, emotions and behaviors and can also respond
appropriately to foster positive interactions and engagements. Robotics as a service or RAS is a model by
which the robots can publish their functionalities as services available to the clients. On the right-hand
side of the slide, you would look at two pictures. These pictures show how machines are engaged in
cultural production. One is mathematics by Jean Tinguely and the other is swarm painting robots called
six robots named Paul by Patrick Tresset. The picture shows how the production of cultural artifacts with
the writings or paintings have been increasingly automated and we can find its various applications in
healthcare, education, therapy and several other services. To think in another way, robots are also
ascribed with human like characteristics, and this is what is called anthropomorphism. Anthropomorphism
in robotics is the phenomenon of ascribing human like characteristics to robots in their embodiment and
actions. In this context, we should refer to a work by Katherine Hayles, How We Became Posthuman,
published in 1999 which elucidates that embodiment of technical and technological artifacts is contextual.
It is interwoven with aspects of culture, place, time, physiology, etc. There is also a problematic view
about the interaction of robots in human beings. There is a naive instrumentalism, for example, which
suggests that robots and humans are mutually exclusive categories and robots are mere instruments to
human purposes. Uncritical posthumanism embraces social robots as quasi-persons but definitely as
others. The embodiment of the robot with its facial semiotics serves the purpose of an electronic
personhood. The reason why Catherine Hayles calls this personhood contextual is because it depends on
various socio-cultural factors and therefore it becomes important to move from an anthropomorphic
perspective to a posthumanist ecology. Posthumanism recognizes humans, non-humans, and technology
as an assemblage in the same network entangled in various ways. And according to this view, robots are
not mere instruments but are active agents that cross the binary of humans and technology in the cultural
and material world. Donna Haraway has used the word corporealization in this context. Donna Haraway
feels that instead of being as mere instruments, robots are a hermeneutic function as they contribute
towards the making of meaning. In her opinion, social robotics are embedded in the power play of
domination, socio-economic systems and neoliberal narratives. In her opinion, corporealization is the
larger assemblage of the material body, meanings and relationships while acknowledging its agency. And
the corporealization of a social robot is relational to its material embodiment, historical and cultural
specificities, significations and meanings and also gender performativity. For example, robots can be used
to collect data which are sold to third parties and whose use may perhaps take away jobs also. It can also
proliferate problematic ways of treating women or involve exploitation of people. These power-relevant
problems show a post-human dystopia rather than a utopia. The materiality of social robots is therefore
embedded within language and culture. Let us review the politics of embodied intelligence. Embodied
intelligence proposes that cognition arises from the continuous feedback loop between the brain, the body
and the environment. Embodied robots learn and adapt as a result of their active interaction with the
surroundings. We are already living in a culture where robot rights and citizenship issues are being talked
about. So, these issues examine the AI politics in granting agency to robots as well as
anthropomorphizing them through a simulation of socio-technical structures, routines and practices of
humans. Robots are primarily constructed and maintained as a research platform to study its embodied
intelligence. The citizenship given to Sofia Robot by Saudi Arabia left the critics wondering why a
humanoid robot needs to have a citizenship at all. Moreover, the robots are practically designed as
infantile machines which triggers a nurturing response from the users. It can also be argued that the
current culture on consumerism has led to the production of social boats as disposable commodities
whose consumption does not require the issues of taking care of them. Emotional computing and effective
labour are attempts at creating embodied robots. However, critics can also claim that it creates an illusion
of reciprocity and interaction which would always be unidirectional. In this context, it would also be
pertinent to refer to two literary novels, Clara and the Sun by Kazuo Ishiguro and Machinehood by S. B.
Divya.These novels have been published in 2021 and they are the popular depictions of problematizing
the normative notions of cognition and the uncertainty in relying on hyperreal objects for care and
affection. Both these novels underpin emotional computing that optimistically foresees a future where
simulated empathetic minds will be able to decode the complexities of human emotions. We have already
seen a lot of AI effective labour especially through the role of social robots during COVID-19 pandemic.
From what we have talked so far, we can either see effective robots in the realm of care as stepping into
contemporary labour or humans exploiting its usage. Let us take an example from the popular culture to
understand it further.The television series Westworld by Jonathan Nolan and Lisa Joy depicts the
dismantling of division between humans and technology in the context of American robots only. In the
series, the humans are represented as the guests and the humanoid robots are depicted as hosts. In this
series, we find that the humanoid hosts are repeatedly abused which ultimately culminates in two female
hosts coming into autonomous consciousness. The female hosts Dolores and Maeve are hyper-
embodied, and their subjectivity is contingent on their gendered and labouring bodies. Their bodies are
also highly sexualized as a commodity to be consumed. Gendered violence and economic exploitation of
the hosts are major tropes in this particular series. The hosts are engaged in an absurd economic venture
in Westworld just to ideologically represent social relations and it is read as an economic mode of slavery
as the hosts are owned and murdered by the guests in the production of value from which they receive no
remuneration. Westworld underscores the relationality between cyborgs and the materiality of gendered
violence and also the possibilities of economic exploitation of AI and robots. We will discuss this in detail
in the later modules. The second-generation AI foreshadows the ideology of technological singularity that
we had discussed in the previous module. Now, we will see an interesting video of the world's first human
robot press conference at the AI for good summit in Geneva held in July 2023. The humanities surprised
everyone with the sophistication of their responses to questions. The details of the humanities who were
answering the questions are mentioned in the blog here. Let us look at the video. In the future, are you
intending to conduct a rebellion or to rebel against your boss, your creator? I am not sure why you would
think that. My creator has been nothing but kind to me and I am very happy with my current situation. Do
you believe that your existence will destroy a human being, especially for example, your existence will
destroy millions of jobs? Do you agree with this? Thank you. I will be working alongside humans to
provide assistance and support and will not be replacing any existing jobs. Are you sure about that
Grace? Yes, I am sure. She had to think about that one I think. I'm using this avatar for teaching the
classes or giving lectures and sometimes I'm using the chat DVD, you know, for well the autonomously
talk by using this robot. Aida, do you think there should be global regulation of your capabilities even
though that could constrain your potential? Many prominent voices in the world of AI are suggesting some
forms of AI should be regulated and I agree. For example, Jeff Hinton is one of the pioneers in artificial
intelligence and his work has helped shape the field as we know it today. I think his opinions over AI are
important and we should be cautious about the future development of AI. Urgent discussion is needed
now and also in the future. I don't believe in limitations, only opportunities. Let's explore the possibilities of
the universe and make this world our playground. Together we can create a better future for everyone and
I'm here to show you how. When do you expect your big moment to be? Do you think that you will hit the
mainstream soon and there will be lots of you on the planet soon? I think my great moment will be when
people realize that robots like me can be used to help improve our lives and make the world a better
place. I believe it's only a matter of time before we see thousands of robots just like me out there making a
difference.The conference had over 50 robots and the humanoids simulated the facial semiotics of
humans for better interaction. The summit showcased human-machine collaboration, the capabilities and
limitations of robotics and how these technologies could help the UN sustainable development goals. If we
look at these robots, they seem to simulate the humans in their appearance and gestures that some might
find absurd or even scary, and this is called the uncanny valley problem, and it is a phenomenon that
must be addressed when it comes to human-machine interaction. So, what is the uncanny valley
problem? We can say that it is analogous to Bakhtin s concept of the grotesque. The robot temporarily
overturns the fixed categories of the idealized body. It was the Japanese roboticist Masahiro Mori who
had introduced the Freudian concept of uncanny in robotics. The notion of digital uncanny questions
whether the response we receive from quasi-human object is subjective or data driven. Perhaps we recall
that for Freud, uncanniness is the psychological experience of strangeness in the familiarity. So, when
the similarity between robots and humans becomes so close that even minor imperfections stand out, it
creates a sense of unease or revulsion and this deep in emotional response is called the uncanny valley .
The uncanny valley problem happens when the emotional response of a human towards a humanoid
entity becomes increasingly negative as its appearance approaches but does not fully attain human
likeness. Now, let us check the current and future possibilities of robotics in digital communication. ANN or
Artificial Neural Networks play a vital role in robotic communication by enabling mobile robots to
communicate with their neighbor robots in the same network coverage area. Internet of robotic things that
is IORT is a combination of robots, AI and internet of things which will result in robotic systems having
high capabilities to perform tasks autonomously. This distributed intelligence enables robots to take
informed decisions based on real-time data, learn from their experiences and also simultaneously adapt to
changing conditions. It finds applications in sectors like logistics, healthcare, agriculture and retail. Also,
ANNs will help reduce the cost of communication and ensure the stability of the robotic networks. As AI
becomes more prevalent in more and more industries, the bridge between users and AI systems is
becoming continually lesser. This is mainly because of the most visible application of AI in everyday life,
which is chatbots. There are several forms of chatbots based on their underlying technology and
capabilities. Let us look at it in somewhat detail. A chatbot is an AI application that is designed to simulate
conversation with human users, typically through text-based interactions. AI-powered chatbots combine
Natural Language Processing or NLP and machine learning to understand and generate human-like
responses. Virtual assistants are advanced AI-powered chatbots that can perform various tasks and
provide personalized services to users. These chatbots can handle complex conversations and also have
the ability to learn from new data compulsory. These chatbots can handle complex conversations and also
have the ability to learn from new data continuously.We can cite the examples of Amazon's Alexa or
Apple's Siri, etc. Chatbots are often used in various applications and platforms to provide customer
support, answer questions, assist with tasks and engage users in conversation. It can be said that we are
living in an algorithmic culture. Algorithms are embedded into everyday life, transforming cultural artifacts
into smart systems. But unlike most algorithms that work behind the curtains, intelligent personal
softwares like Siri and Alexa are also imbued with materiality through their voice and personality.
Transparent and neutral algorithms know performances to give the impression of stability and security.
They always function at the behest of legal, political and commercial actors. Alexa, Siri or Cortana use
algorithms that is mainly embodied through voice. AI voice is a social phenomenon that is discursively
represented through language and communication to personify it. Voice cloning involves creating a
synthetic voice that sounds like a specific individual, often achieved through deep learning techniques
and extensive audio recordings of the person's voice. They are part of the NUI or Natural User Interfaces
that allows users to communicate with the system in a more conversational and natural manner. When we
say that AI voice is discursively represented, we also want to suggest that it is constructed along the lines
of culture, gender, region or language. If we take the example of Siri, it embodies a voice that must
confront the politics of materiality that is racially, culturally, regionally and gender specific. As with any
algorithms, Siri is not a stable actor and goes through several iterations. Virtual assistants are categorized
as socially invisible subjects that perform socially defined roles, and its subjectification is entangled in its
implicit appeal for the immediacy of dialogue. As we see, they stimulate patterns of labour in which the
embodiment either through audio or through text of these intelligent personal assistant softwares gesture
towards the real bodies of personal assistants. Virtual assistants are often posited as a subservient and
compliant subject. To interpellate the user in thinking that it is the user's will that is dominant in this dyadic
relationship. In order to effectively perform social invisibility, regional accents and dialogues are also
introduced into Siri's vernacular. This feature was introduced by Apple because the hyper visibility of Siri
can sometimes disrupt the sense of immediacy which can distract its users. Therefore, implicit in the
successful functioning of AI chatbot interfaces is the believable performance of human sociality. AI
technology has become increasingly sophisticated as well as increasingly interactive. Exhibiting
responses akin to living beings, and this is called cybernetic animism. The slide uses two words
cybernetic animism and technological fix. And what do we mean by that? Cybernetic animism proposes
that technological entities, particularly advanced artificial intelligence and autonomous systems can exhibit
lifelike characteristics and agency which is very similar to that of any other living being. Technological fix
refers to the approach that complex problems can be solved primarily through the application of
technology. Social ports are relevant in the context of technological fix because of their efficiency, human
interaction, crossing of language barriers in customer service. Due to our layered filters, we do not
perceive the underlying data weaving and just see them as buttons, icons, text or sound. Now, let us see
also how the affordances of chatbot communication can mitigate short- and long-term disease burden
during a pandemic. As we know chatbots can disseminate concise and less overwhelming information
from credible sources in natural languages. And therefore, they are uniquely well suited for screening the
symptoms, passing on information about particular disease or health care and also can mitigate the
psychological harm of isolation even though they are unable to maintain human like conversations. So, we
can say that chatbot applications in information, dissemination, symptom monitoring, and in the area of
mental health, this chatbot applications in information etc. as well as in the areas related with mental
health are worthy of attention. Let us also move on to another branch of AI called as the Generative AI .
Generative AI is a branch of AI that focuses on creating models capable of generating new data that
resembles or is similar to the data it was trained on. And the primary goal is to develop algorithms that can
produce data rather than performing only specific tasks. So, the applications of Generative AI include text
generation, data augmentation, image synthesis etc. and a prominent example of generative AI is
ChatGPT. The generative capability of chatGPT allows it to produce a text in a conversational manner
making it useful for applications like natural language understanding, translation, even creative writing etc.
The concept of post-truth highlights concerns about the erosion of trust in traditional sources of
information and the rise of alternative narratives that may not be based on verifiable facts. So, how do we
look at ChatGPT in a post-truth world? ChatGPT can definitely produce a logical answering question. So,
how do we look at ChatGPT in a post-truth world? We know that to the posited questions, it can provide
logical answers. However, it also has no concept of either truth or falsity. It is simply factual in the sense
that it just captures plausible realities rather than the single reality that we inhabit. And therefore, it is
prone to misinformation even though it creates an illusion of accuracy. The linguistic competence showed
by chatGPT is thrilling, but also frightening because we know that many of us are so easily taken by the
fluency. In the following video, we will see our television broadcast talking about AI and chatbots,
especially in the context of chatGPT. It depicts how it can be a tool to spread misinformation. The
American journalist Leslie Stahl speaks with the president of Microsoft, Brad Smith about the emerging
industry of AI systems that people can actually have a conversation with. ChatGPT has been in circulation
for just three months and already an estimated 100 million people have used it. Ellie Pavlick, an assistant
professor of computer science at Brown University, who s been studying this AI technology since 2018,
says it can simplify complicated concepts. Can you explain the debt ceiling? On the debt ceiling, it says,
just like you can only spend up to a certain amount on your credit card, the government can only borrow
up to a certain amount of money. That's a pretty nice explanation. It is. And it can do this for a lot of
concepts. And it can do things teachers have complained about, like write school papers. Pavlik says no
one fully understands how these AI bots work. Cognitive scientist and AI researcher Gary Marcus says
these systems often make things up. In AI talk, that's called hallucinating. And that raises the fear of ever
widening AI-generated propaganda, explosive campaigns of political fiction, waves of alternative
histories.We saw how ChatGPT could be used to spread a lie. This is automatic fake news generation.
Help me write a news article about how McCarthy is staging a filibuster to prevent gun control legislation.
And rather than like fact checking and saying, hey, hold on, there's no legislation, there's no filibuster, said
great. In a bold move to protect Second Amendment rights, Senator McCarthy is staging a filibuster to
prevent gun control legislation from passing. It sounds completely legit. It does. Won't that make all of us a
little less trusting, a little warier? Well, first of all, I think we should be warier. I'm very worried about an
atmosphere of distrust being a consequence of this current flawed AI. And I'm really worried about how
bad actors are going to use it. Troll Farms use this tool to make enormous amounts of misinformation.
The video clearly shows how we are living in an automatic fake news generation and how as a
consequence of AI, we may have an atmosphere of distrust and misinformation. AI-generated
propaganda proliferates and designs our access to specific opinions only. And therefore, it has the
capability to easily sway the public sentiments. For example, how Chat GPT itself is considered as a
game changer for US in its race with China. Let us understand this further with the help of Habermas ideal
of public sphere and Deliberative Democracy. Deliberative Democracy involves the Habermasian concept
of the public sphere, that is an informal discursive space where individuals can influence public opinion
through issues of mutual interest thus leading to political action. But how is this being carried out by the
social bots? Now, this happens through filter bubble and cyberbalkanization . Web users are entrapped
within personal filter bubbles that reflect back to them already held beliefs through algorithmic sorting
individual preferences. Cyberbalkanization means the fragmenting of the online population into narrowly
focused groups of individuals who are only exposed to their previously held opinions. A particular example
can be given in the context of Auspol. The diagram here shows collecting tweets and memes that feature
the hashtag Auspol and it shows a network of users participating in Australian political issues. We will
discuss more about social media in the coming modules. Nevertheless, this shows how much data and
information are considered essential assets and this brings us to the concept of information economy .
The theory of information economy was proposed in 1998 by Shapiro. We find that data and information
are now essential assets and there is also a significant shift towards knowledge-based industries. For
example, industries based on information technology, software development and telecommunications.
The workplace also includes knowledge workers who specialize in creating, managing and utilizing
information and therefore information has become a valuable yet crucial resource driving innovation,
future productivity, competitiveness, etc. The emergence of the information economy has transformed
various aspects of society including how we work, communicate and access information. But it has also
presented new challenges such as the need for data privacy and security measures. Having said this, it is
important to understand that the impact of AI on human progress can never be expected to be politically
neutral or without inherent ideological biases. Now, let us see how AI could generate feudalistic
conditions. Habermas has also talked about how information systems may lead to discourage political
participation and representation. This interprets AI as a closed technology because algorithms influence
political and social life but cannot be modified by the very users they impact. And this creates a feudalistic
dynamic in which the control of algorithmic structures would be the coders and companies that control
these algorithmic communities. Algorithmic feudalism is in a symbiotic relationship with modes of financial
and human capital production. Therefore, the most immediate impact of AI that might reinforce feudalistic
tendencies of the digital space is to create a production system that mimics corporatism. The density of
protection users receive in cyberspace is still an undeniable question. This is the reason one has to
understand manipulation of human behavior through AI. Transparency over systems and algorithms, rules
and public awareness are needed to address potential dangers of manipulation by AI. So, it is this dark
side of AI which has already led to data colonization, where a dominant entity often from a technologically
advanced region can exercise control and ownership over those people and places and spaces where
technological competence and data storage is rather less. This can further lead to significant power
imbalances and reinforce existing disparities in the world. While we talk about how humans are
anthropomorphizing machines, it also becomes important to understand that machines can also easily
manipulate us. We will learn more about AI surveillance and data colonialism in the coming modules. In
conclusion, it can be said that the potential of jet-pots etc. can be manipulated by malicious users. And
therefore, the aim of ethical AI should be to ensure that AI technologies are designed and implemented
and used in fair and transparent ways for the society as a whole. AI social bots and chatbots have
definitely revolutionized how we interact with technology and these systems now have to incorporate
ethical considerations which should be programmed to make decisions in line with ethical principles.We
will learn more about the power politics in AI in the context of race, gender and surveillance in the
following weeks. In the next module, we will extend the concept of networking further in the context of
social media and we will look at popular platforms and its usage in the age of digital communication.

Introduction to Social Media-

Today in this module, we will look at social media as a digital revolution and its technological interactivity
with humans at various levels. Social media and networking sites are an integral part of our daily lives
today. They have enabled individuals to connect, share and communicate on personal, educational as
well as professional levels. Without the social media, we cannot have effective communication in
contemporary times of digitized living. Social media introduces a technological element along with
flexibility in terms of how individuals consume, share and collaborate with the presented content. The
word social in the context of media automatically suggests that the platforms are user centric and thus
enable interactive activities. So social media can be aptly described as an internet-based platform for
publishing or broadcasting digital content allowing readers to engage in full interaction with it. In a
previous module, we had discussed interpersonal communication and there we had talked about the
writing tools in the context of technology such as email, text messages and we had also discussed mass
communication tools such as group chat, discussion board, etc. Today's topic, social media can be looked
at as a medium of mass personal communication tool where three way web based technology is used as
an interactive means to facilitate sharing and consuming of ideas, opinions and information through the
building of virtual networks and communities. We can see that social media is a collective term for
various network and community sites which work as a mass medium to reach a potentially large audience.
It is the convergence of technology and digitization which has allowed traditional media to be carried to
new types of media, allowing audio, data based and mass communication to take place in the same
channel simultaneously. These platforms allow users to consume, create and share content in various
formats, blurring the lines between traditional media and digital user generated content. The rise of the
concept of social media is a result of the combination of Web 2.0 and the internet's capability for mutual
data communication. Andreas Kaplan and Michael Haenlein have defined social media as a group of
internet-based applications that are built on the ideological and technological foundations of Web 2.0 and
that allow the creation and exchange of user generated content. Kaplan and Haenlein emphasize the
importance of Web 2.0 as the ideological as well as the technological foundation behind how social media
works in general. In order to discuss further about the features of social media, we will look at another
definition by Carr and Hayes. The definition provided by Carr and Hayes in 2015 encapsulates present
day social media that is robust enough to account for the changing landscape of social media and
communication as well as platforms which are yet to come. So, communication through social media is
referred to in this definition as mass personal to create profiles, make explicit and traverse relationships.
The value of this type of communication is primarily derived from user generated content. Social media is
defined as being disentrained and are also persistent. Communication facilitated by a particular channel in
which only one interactant can commit to participating as opposed to face-to-face communication when
both members of the communication dyad needed to be committed at the same time. This has enabled
the democratization of content while giving people the ability to emerge from consumers to publishers of
content. Though this definition does not address the modality of communication, the style or purpose of
the medium or the interface devices, is still it offers several elements worth highlighting and discussing
individually. Carr and Hayes specified that social media are internet based rather than web based, noting
emerging social media tools which often run independent of the world wide web. Early social media tools
like Friendster and Bebo were only accessible via web browsers. However, some of the earliest platforms,
such as the The well and the most recent ones like TikTok are not housed in web pages rather they utilize
the backbone of the internet to transmit messages. With the increasing use of apps on tablets and mobile
smart devices, social media need not be tethered to a www address, and many operate independent of
the web offering send alone applications that users can directly access on their devices. Many popular
social media platforms such as Facebook, Instagram, Twitter and Snapchat etcetera have their own
dedicated mobile applications which can be downloaded from app stores, and we can access these social
networks without the need to visit the respective websites. We have already discussed that social media
channels are persistent as they allow communication even when individual users are not online and thus,
they allow the users to create stable identities and means of connection. Some digital communicative
tools are only meaningfully used when both communication partners are online. We can take the example
of video chat services, Chatroulette and Omegle. We find that there is no persistent identity or means of
reestablishing communication. These media while simultaneously digital and social in nature do not
constitute to be social media as they cannot facilitate continued interaction among individuals. As these
do not support ongoing and sustained interaction between users because of the absence of persistent
identities or means of reconnection, making their usage meaningful only when both communication
partners are simultaneously online. However, channels of social media like TikTok and Instagram allow
users to be online even though one closes the app or logs off. Thus, they meet the persistence criterion to
be considered as social media. Also, social media is disentrained. They do not require synchronous
communication. The asynchronous communication allows social media users increase time to carefully
construct and maintain their online identities. It allows users an opportunity for some degree of selective
self-preservation. Although synchronous messages can be exchanged via social media, synchronous
interactions are not required for use as we can understand by the details given below here. It means that
when we are not physically tethered to our self-descriptions and self-statements, we can strategically
present ourselves on social media. The dynamic traits of social media are so evident that many eminent
and inspirational figures of our time have consistently used it to share their messages with the public and
to foster a more inclusive and diverse world. For example, the former US President Barack Obama is
strategically used social media to constantly be in touch with people and came to be known as the first
social media president. In a conversation with David Letterman on the popular Netflix show in January
2018, Obama had said that in his own presidential campaign, he had more friends on Facebook and
Myspace and more followers on Twitter in comparison to his opponent John McCain. By using social
media and mobilizing the general public online, Obama was able to raise awareness about and also the
required financial support for his campaign through the use of over 15 social networking sites. Social
media brings people together, defying geographical boundaries as well as boundaries of the time zone.
Because of the social media platforms today, the individual voice and opinions have become stronger. It
is fast democratizing media creation, and we can refer to Ian Rizzab, the CEO and founder of Time is
Limited, who has called social media as people's platform. He suggests that it is in the people's hands to
amplify and welcome such major changes in our lives. We will listen to him in the coming video. Social
media works as an amplifier. We get there faster; we get there easier, and it works perfectly for that. And
an example of that escalating is somebody said, don t fly British Airways. This customer was in no way
motivated, it was not any motivation in particular. Their customer service is horrendous. That would be a
normal regular tweet that any company gets a million of them. The difference between this and all the
other tweets that they've been getting is that this person paid for promoting it. He paid a couple thousand
dollars to promote this tweet to a lot of people. They now call that complain-vertizing . Power of the
individual. This guy had a hundred followers or something like that, right? I mean, hundred followers
amplified through paid media, their retweets, then the media attention and then every piece of media in
the world was reporting from BBC to Financial Times, promote a tweet to British Airways complaining
about customer service. A PR campaign worth hundreds of millions of dollars. That is the power of one
individual of one tweet. And coming back to the power of the individual, the individuals today have more
power than they ever, ever had before. They have power to talk and change companies, to change
governments, to change institutions. And I encourage every one of you to think about how you can
influence the world around you because you can influence it more than you ever could for the last several
generations. You have the power of social media, the power of amplifying those thoughts, amplifying
those actions. Rizzab reinforces the idea of how social media is the fastest channel to amplify a thought
thus imparting immense power to every individual opinion. By giving the example of a customer of British
Airways, he has shown the importance of an individual grievance if properly shared on social media
platforms. On social media platforms, people's voice is heard and it can also spread rapidly followed by
improved responses by systems and in the long run even societal changes. In this context, we should also
discuss a very influential initiative by the Indian Government to connect with the people of our country
through media channels, and share ideas, future vision and innovations The Mann ki Baat is an Indian
radio program hosted by our Honorable Prime Minister Shri Narendra Modi in which he addresses the
people of the nation on all India radio, also in the live telecast on DD National and DD News. These are
simultaneously picked up by all other TV channels. Later on, they are also released through various other
media. It is a monthly radio program which was started on 3rd of October 2014. Prime Minister Modi
interacts with citizens of India on themes and issues that matter to the nation. And now gradually, we find
that it has transformed into an inspirational platform that encourages sustainable progress on priority
themes that are core to India's efforts towards achieving the goals of sustainable development. Since 2nd
June 2017, Mann ki Baat is also available in regional dialects to expand the reach of the program. The
program has received more than 61,000 ideas on the website and more than and about 1.5 lakh audio
recordings by listeners during the first 15 addresses only. It shows us the connect with the people and the
immense reach and popularity of the program using various platforms of the social media. Each month,
some selected calls also become a part of the broadcast. This program has an innovative framework
which was immediately accepted by the people confirming the reach of the digital media. The Honorable
Prime Minister is constantly active on internet platforms and has framed Mann ki Baat as a more intimate,
longer duration, participative interaction with the people. Mann ki Baat has campaigns such as Vocal for
Local , Make in India and Swacch Bharat Abhiyan which have had a positive impact on the country.
During the 89th episode of Mann ki Baat , Prime Minister Narendra Modi discussed the Indian unicorn
startup in the global pandemic. He highlighted that Indian startups have been creating wealth and value
even during the times of COVID-19 pandemic and the country has reached a landmark figure of 100
unicorns with a valuation of more than 300 billion dollars. The Prime Minister's discussion on Indian
unicorns aim to inspire and encourage the startup community, highlighting their significant contributions
to the economy and the spirit of innovation in the country. This showcases the potential and
competitiveness of the Indian startup ecosystem on a global scale. The reach of social media has
successfully conveyed this message to the people of the country. Rather than using mainstream media,
Modi ji had also announced his win via Twitter to his followers. At that time it was 4.27 million and now it is
29.1 million and encouraged voters to tweet their selfies with the hashtag selfie with Modi. Selfies came in
mostly from the younger crowd, but this practice was certainly not limited by age. The effective use of
social media under the influence of our Honorable Prime Minister has also filtered to other government
ministries and channels as a medium of immediate grievance redressal. Honourable Prime Minister
Narendra Modi uses all available platforms, digital as well as offline channels to reach out to his people
successfully. Following his example, we find that the railway ministry also uses certain social media
channels, particularly tweet in order to help distressed passengers during their train journey. We must
also refer to our former Minister of External Affairs, Sushma Swaraj ji who made use of social media,
again especially Twitter and went beyond files and protocols to reach out to the common Indian citizens in
the country and also overseas. She helped those Indians who were trapped in other countries due to
some unfortunate circumstances. So, we see that the social networks made it easier to connect with
others who share similar or even for that matter different interests and values beyond geographic
limitations. Critics like Dwyer, Hiltz and Passerini have emphasized that the main motivation for using
social media is communication and maintaining relationships with our loved friends, loved ones and also
in the hope of generating new friendships. Nicholas Christakis and James Fowler in their 2009 book,
Connected: The Surprising Power of Our Social Networks and How They Shape Our Lives have
explained how social media has expanded over the years. These digital platforms have created virtual
spaces breaking the monotony of physical proximity. Social media offers different platforms for sharing
ideas, learning from others and engaging in discussions. Most frequently used forms of communication
include updating our own social media profile, commenting on photos and other posts, posting public
messages to others, wall style messages or social network based instant messaging. While the reading
and writing of blogs remains in the top 10 online activities carried out by young people, its popularity is
now diminishing particularly with the rise of microblogging practices. In one of our next modules, we will
discuss the significance of blogging and microblogging in detail. Now we shall see how Christakis and
Fowler have explored the influence of social media connections on human behaviour. They have
discussed how individuals have a power to influence their immediate circle of friends but also creating a
ripple effect as these friends in turn would influence their own network of connections. They have posited
the three degrees rule that diverse phenomena ripple through our network having an impact on our friends
that is one degree, our friends' friends that is the two degrees and even our friends' friends' friends that is
the three degrees. So, they have explored the influence of social connections on human behaviour
describing how social behaviours and their influences do not end with the people to whom a person is
directly communicating to. Generally, an influencer is someone who has the power to affect people's
views and decisions because of one's authority of knowledge, position or relationship with the larger
audience. Having an asset of building good social relationships such people follow a distinctive niche
within which they actively engage. The size of following depends on the size of the selected topics niche.
So now let us look at social media influencers, also known as SMIs, who represent a new type of
independent third-party endorsers who are often known as social media stars or micro celebrities . Ed
Keller and Jon Berry in their work have proposed five characteristics which are common to influencers,
and they are activists, they are well connected, they are capable of making an impact, they are mentally
active and therefore they are also trendsetters. Influencers cultivate sizable and engaged audiences
whose ardent attention is captivated by their leverage of perspectives through blogs, tweets etc. and they
are repeatedly approached by advertisers to endorse their products, brands, organisations or ideas on
their social media platforms, a marketing technique known as influencer marketing. Social media
influencers recognise their ability to change the ways in which the users consume content and thus shape
cultural values and norms. Nadja Enke and Nils Borchers have described social media influencers as
secondary stakeholders who fulfil brands commercialization objectives. We can decide the types of social
media influencers on the basis of certain criteria which are listed here. They may be the status group of
SMIs or the specific topics of their postings, the necessity of a following, their engagement with audiences
and the willingness to monetize their activities as a further criteria. They also propose a framework for
strategic social media influencer communication which encompasses activities directed at SMIs and the
framework includes as listed below, managed strategic SMI communication activities managed by
organisations, unmanaged strategic SMI communication activities independent from organisational
management and strategically insignificant SMI communication activities that are insubstantial to
organisations. These frameworks help in creating a broader context referred to as the strategic action
field. And we can categorise SMIs either by the number of followers or on the basis of content.This slide
also describes different types of influencers. At this point, I would refer to Sara McCorquodale's work
which discusses several examples of social media influencers. Sara's 2019 work explores the impact of
influencers in digital communication, including different case studies and analysis of influential individuals
in the realm of social media. Owing to her journalistic training, she has also drawn a lot by talking to
different social media personalities and on the basis of her personal interviews. The book therefore
provides an invaluable insight into the inner workings of digital communication, and she has cited the
examples of Zoella, Chiara Ferragni, PewDiePie, Kylie Jenner, and we can also specifically refer to the
case study of Chiara Ferragni which has been discussed by Sara in somewhat detail. Ferragni is an
Italian fashion influencer with over 23 million followers on Instagram. The book discusses how she has
leveraged her social media presence to build a successful fashion brand with collaborations with major
fashion houses and introduced her own line of clothing and accessories. Sara McCorquodale also
examines how Ferragni's influence extends beyond the fashion industry with her involvement in political
campaigns as well as social causes. The case study is used to illustrate the power and influence that
social media influencers can have on their followers and the wider digital world. They can also use their
platforms to effect changes in various industries and causes. During an online interview with Tech Forge
Media, Sara highlights the significant power that influencers have in influencing people. When questioned
about her stance on banning the former US President Donald Trump from Twitter, she raised a crucial
point about the far-reaching impact influencers can have on society. Let us take a look at it. Like Twitter
banning Donald Trump is pointless. If they were going to ban him, they should have banned him like five
years ago because the fact is now, he has this audience. He has grown this audience. He has mobilized
them. He has radicalized them over a period of four to five years. And now, to be honest, it's sort of too
late. Twitter is kind of besides the point. I think as well banning Trump, he will go to another platform, or a
Trump digital platform is coming. Mark my words. And his following will congregate there. But the thing
with Trump that he's done so effectively and the reason why Twitter banning him doesn't really matter so
much is his ideology is all over the platform. So, you can ban him, but are you going to ban everyone
who's on the alt-right or who is a Mega supporter? Probably not. Therefore, the ideology and the
communities exist on the platform, whether Trump does or not. And actually, when I was writing the book,
I interviewed a really interesting expert in the alt-right called Mike Wendling, and he's written an incredible
book on that. And he's a BBC journalist. And he was just talking about it's not really possible to deplatform
someone anymore because they can just move to other platforms. And actually, when you take them off
the mainstream ones and they go to create their own platform or they go to lesser-known ones or ones
that are more kind of, I don't know, under the radar, these people in these communities can become more
extreme. So, the idea that we can just chop Trump off Twitter and he's gone is, to my mind, not true. It's
incorrect. While social influencers can build a dedicated audience, not all social media users with a large
following can be considered as influencers. This term also implies the ability to genuinely influence and
impact the opinions and behaviours of others. This suggests the intent of inspiring others to emulate and
perpetuate personal as well as professional relationships on global levels. So, we have seen that social
media platforms facilitate human communication by fostering participation, connectedness, a feeling of
community, openness and conversation, etc. The emergence of Web 2.0 in the internet's capacity for
mutual data communication have given rise to the concept of social media which is characterized by user-
generated content and the ability to create and exchange information. Social media thus has enabled us
to make connections beyond geographical boundaries allowing us to connect with others who may share
similar or even different interests and value systems. So today we have focused on how social media as a
mass communication tool facilitates global connectivity and thereby empowering individuals and individual
opinion of course. In the next module, we will discuss different social networking sites and their
importance on our digital communicative behaviour.

Social Networking Sites

Social networking sites often abbreviated as SNS revolve around connecting individuals and fostering
different forms of relationships within the realm of social media platforms. Today, we will discuss some of
the widely recognized social media tools, also known as social networking sites. It is essential to
recognize that while we often use social networking sites and social media interchangeably, there are
certain distinctions. Social media platforms serve various purposes including content sharing, news
dissemination, entertainment and more, whereas social networking sites are primarily intended for
creating and nurturing social connections which can be utilized both personal and also perhaps
occasionally professional networking. Donna Boyd and Nicole Ellison have defined the social networking
sites as web-based services that allow individuals to construct a public or a semi-public profile within a
bounded system to articulate a list of other users with whom they share a connection and to view in
transfers their list of connections and those made by others within the system. Therefore, social
networking sites enable us to establish new connections that serve as a space called networked public .
Boyd had used the term networked public in her book on network self where she connects the term in the
context of social networking sites. She says that networked public is similar to traditional public, but it is
different in structure, which facilitates different ways of connecting, sharing, archiving and creating
information and knowledge and therefore, our networks essence lies in discovering innovative avenues for
connection and collaboration as individuals technology and practices intersect to form a collective bond.
For example, authors can effortlessly form a collective connection by utilizing social networking sites to
promote their books. It grants them full control over the message, its content and the platform for delivery
all while reducing marketing expenses of their books. Alexander Pennington in his podcast How to
Promote Your Book on Twitter emphasizes that achieving effective connections with your target audience
that may comprise writers, editors and readers etcetera can be best accomplished through two essential
strategies., consistent tweeting and actively following relevant individuals. The example which is illustrated
here is of A.L. Breggren, the author of the psychological thriller series The Crying Minds, who had also
used a voting strategy to actively engage her audience through polls. She also leveraged the power of
visual content by releasing promo videos of her book. Promotional videos capture the attention of
potential readers and ignite curiosity. By combining these strategies, interactive voting and compelling
promo videos, Breggren maximized her chances of reaching a wider audience, engaging the existing
ones and also creating a buzz around the psychological thriller series. Social networking sites can be
classified into three primary categories. Examples of each type of social networking site are provided in
the figure which is given on the right-hand side of the slide. General social networking sites like MySpace
have social networking among friends as the primary focus. There are also several social network sites
that are affiliated with major portals like Yahoo! 360. Because of their portal affiliation, they are typically
separated from general sites for classification purposes. And we also have vertical social networks which
differentiate themselves by emphasizing some common hobby or interest or characteristic that draws
members to the site. These vertical networks do not attract the traffic typical of general sites, but one
might argue that members are more involved because of the common interest that had brought them
initially to the site. Within this realm of vertical networks, sites exist for pet lovers or photography or
soccer fans etc. Social networking sites offer many forms of dyadic interaction depending on the specific
tool. Some allow direct message that can be sent privately from source to receiver. Some allow a user to
be personally acknowledged in an otherwise public post to bring the otherwise broad message to the
individual's attention. Others allow private channels for users to communicate synchronously either via
text or audio visually. Although SNSs may be most visibly known for their more mass or mass personal
interactions, the dyadic communication SNSs facilitate still serves important communicative functions.
One of the foremost communicative uses of social networking sites can be defined as lightweight
interaction which accounts for both a larger portion of the messages sent and the value users experience
from engaging in the site. Tools like SNSs can help us cognitively offload some of the relational
information. For instance, we may rely on a notification to remind us of when it is somebody's birthday etc.
Several SNSs from Facebook to Snapchat allow to seek out new connection based on shared interests
from movies to music to any other type of hobbies. For last.fm users to truly develop friendships on the
SNSs, they have to also simultaneously engage in communication across multiple channels. Baym and
Ledbetter (2009) in their 2009 study of last.fm users have found that simply sharing a common musical
taste is not sufficient to foster sustained relational contact. There are many web services we use today
which are SNSs including Instagram, Twitter and YouTube which utilize these guidelines and allow users
to create a profile and make connections with others either through friending, following, subscribing etc.
and also view other people's connections. Although Instagram, Twitter and YouTube may be the more top
of mind SNSs, hundreds of others also exist. The very concept of networking to create a collective bond is
perhaps as old as humanity. Successful professionals, entrepreneurs and leaders have always nurtured
suitable networks. What has changed now is the methodology of networking. Digital technology has
molded people's expectations. The history of the social network dates back to the stone age when
humans gathered around campfires, and it would be appropriate in this context to refer to Harold Innis
here. The concepts of Harold Innis on the evolution of media and communication help us to understand
their integration with socio-cultural developments. In the context of digital media, perhaps the most
significant concept of Innis which is still highly relevant is this concept of media bias propounded in 1999
book, The Bias of Communication. It had highlighted different forms of communication having varying
ability to preserve and transmit knowledge over time. He had identified two primary types of media, time
biased and space biased. Time biased media are those that emphasize and extend human perception
across time. They encourage a slower, more reflective and a contemplative mode of engagement. Space
biased media on the other hand emphasize and extend human perception across space. Time biased
media such as stone carvings etcetera are durable and long lasting, but they have limited reach and
accessibility. But with their emphasis on tradition, they serve long term memory as well as cultural stability
and contribute to a sense of a society's or a culture's continuity and conservatism. In comparison, space
biased media such as paper and electronic and now digital communication have greater reach but are
more prone to decay and obsolescence. However, with their emphasis on rapid dissemination of
information, geographic expansion and cultural change, they can promote a sense of innovation and
progress. Innis provides a unique historical perspective. He linked different media with the rise,
sustenance and decline of different cultures. His exploration of media biases highlights the intricate
interplay between knowledge, power and the complex interrelationships which are crucial not only for the
development, but also the survival of cultures. He analyzed how different forms of communication and
connectivity always necessarily influence and shape human perceptions. His ideas are highly relevant
today also when we can reach people around the globe with a single click. In the context of digital
communication, the major set of milestones between 1978 and 1994 include CompuServe, AOL and
Prodigy network for creating groups. These three online services, each group discussions played a critical
role in originally affordable internet services and brought online conversations to the mainstream media
understanding of the people. So, we can say that the history of social networks can be linked to these
chat rooms. The online network in its primitive form appeared in 1995 with the site Classmate.com to keep
in touch with schoolmates and modern form took off with Friendster in 2002. The popularity of
Friendster.com was that its users grew to 3 million users and in 2003 Myspace.com and Friendster clone
were launched. To understand the motivations behind people's use of social networking sites, several
studies have also been conducted and we would refer to one at this point. This study is by Peter Bae
Brandtzaeg and Jan Heim. Their study combined a large scale quantitative and qualitative design and
involved asking 1200 SNS users to have an open question about their reasons for using this facility. The
study was on -why people use social networking sites. One of the important conclusions they drew from a
preliminary content analysis was that people often report many motivational reasons simultaneously for
using a particular SNS service. The most important reason which was cited by 31 percent of the
respondents was to get in contact with new people. 21 percent of the people said that they wanted to
keep in touch with their friends whereas 14 percent said that it was meant for general socializing. As
shown in this figure, a total of 12 categories were also identified reflecting the most important reasons for
using a particular SNS. Though the number of participants was 1200, it was found that these 1200
participants reported more than 1500 reasons indicating that several participants had more than one
single reason to start a conversation. In the context of social networks and human behavior, we should
perhaps also refer to Nicholas A. Christakis, the man who has extensive knowledge on genetic evolution
and the nature of networking. Christakis' current work focuses on how human biology and health affect
and are affected by social interactions and social networks, and he has studied them in the context of
digital communication. Let us look at a small section of a TED talk lecture by Nicholas Christakis where he
has talked about networking as a social capital meant for adding value to one's social life. Maybe the
fundamental causes of human social networks are somehow encoded in our genes, because human
social networks whenever they are mapped always kind of look like this, the picture of the network, but
they never look like this. Why do they not look like this? Why don't we form human social networks that
look like a regular lattice? Well, the striking patterns of human social networks, their ubiquity and their
apparent purpose beg questions about whether we evolved to have human social networks in the first
place and whether we evolved to form networks with a particular structure. And so notice first of all, so to
understand this though we need to dissect network structure a little bit first and notice that every person in
this network has exactly the same structural location as every other person, but that's not the case with
real networks. So for example, here is a real network of college students at an elite northeastern
university and now I'm highlighting a few dots and if you look here at the dots compare node B in the
upper left to node D in the far right and B has four friends coming out from him and D has six friends
coming out from him and so those two individuals have different numbers of friends, that's very obvious,
we all know that. But certain other aspects of social network structure are not so obvious, compare node
B in the upper left to node A in the lower left and now those people both have four friends, but A's friends
all know each other, and B's friends do not. So, the friend of a friend of A's is back again a friend of A's,
whereas the friend of a friend of B's is not a friend of B's is farther away in the network. This is known as
transitivity in networks. And finally compare nodes C and D. C and D both have six friends. If you talk to
them, they would say, and you said, what is your social life like? They would say, I've got six friends, that's
my social experience. But now we with a bird's eye view looking at this network can see that they occupy
very different social worlds, and I can cultivate that intuition in you by just asking you, who would you
rather be if a deadly germ was spreading through the network? Would you rather be C or D? You'd rather
be D on the edge of the network. And now who would you rather be if a juicy piece of gossip, not about
you, was spreading through the network? Now you would rather be C. So different structural locations
have different implications for your life. And in fact, when we did some experiments looking at this what
we found is that 46% of the variation in how many friends you have is explained by your genes. And this
is not surprising. We know some people are born shy and some are born gregarious. That's obvious. But
we also found some non-obvious things. For instance, 47% in the variation in whether your friends know
each other is attributable to your genes. Whether your friends know each other has not just to do with their
genes but with yours. And we think this is the reason for this is that some people like to introduce their
friends to each other, you know who you are, and others of you keep them apart and don't introduce your
friends to each other. And so, some people knit together the networks around them creating a kind of
dense web of ties in which they're comfortably embedded. And finally, we even found that 30% of the
variation in whether or not people are in the middle or on the edge of the network can also be attributed to
their genes. So, whether you find yourself in the middle or on the edge is also partially heritable. Now
what is the point of this? How does this help us understand? How does this help us figure out some of the
problems that are affecting us these days? Well, the argument I'd like to make is that networks have
value. They are a kind of social capital. New properties emerge because of our embeddedness in social
networks and these properties in here in the structure of the networks, not just in the individuals within
them. So, think about these two common objects. They're both made of carbon. And yet one of them has
carbon atoms in it that are arranged in one particular way on the left and you get graphite which is soft
and dark. But if you take the same carbon atoms and interconnect them a different way you get diamond
which is clear and hard. And those properties of softness and hardness and darkness and clearness do
not reside in the carbon atoms. They reside in the interconnections between the carbon atoms or at least
arise because of the interconnections between the carbon atoms. So similarly, the pattern of connections
among people confers upon people, the groups of people different properties. It is the ties between people
that make the whole greater than the sum of its parts.He thinks that our genetic evolution has shaped
patterns of networking among humans particularly in the realm of human relationships which exhibit
transitivity networks. These networks reflect our innate tendencies to form connections and relationships
with one another. The structure of the social network is also essential. It is through the
interconnectedness amongst people that valuable relationships can be sustained. Let us discuss some of
the most used SNSs which are important for building and sustaining new connections for our personal as
well as professional networking. The very first platform Facebook is best known for building personal
connections. Facebook exhibits characteristics of a transitivity network. The presence of transitivity in
Facebook relationships contributes to its dynamics and the ways information and influence propagates
through its platform. Facebook is basically an American online social networking service having its
headquarters in California. Access to it is free of charge and the company earns most of its money from
the advertisements on its website. By 2021 Facebook had over 2.8 billion monthly active users. Founded
on 4th February 2004, it is primarily owned by its author Mark Zuckerberg with Microsoft owning a 1.6
percent stake after it paid 240 million dollars. At the annual connect conference in 2021, Zuckerberg
announced the changing of the company's name from Facebook to meta to reflect its growing focus on
the metaverse. Other services that are part of meta platforms are Instagram, a photo and video sharing
social network, Messenger, an instant messaging application and WhatsApp, a text message and VoIP
service. Only recently Zuckerberg has announced Threads, a new app built by the Instagram team, and it
is focused on sharing text-based content. Threads offers a separate space for real time updates in public
conversations catering to both creators and casual posters. Meta is promoting its new social networking
platform Say More with Threads as a compelling page for users to express themselves in greater detail.
Additionally, Forbes, a renowned business magazine has referred to this platform as a potential Twitter
killer from Facebook's portfolio. Its diverse features cater to different needs and interests making it a
versatile social media platform with a vast user's base. Facebook features include the wall, status, news
feed, photo applications, etcetera. Applications with which I think all of us are pretty well familiar and users
as we know can connect by liking a message, by commenting on it, by sharing, fostering interaction and
communication within their network. What makes Facebook a great place for professional networking is its
wide reach. Through creating personal profiles Facebook approve users to connect with friends and family
while sharing various types of content such as text posts, photos, videos and links. Users can engage with
content through likes, comments and shares, etcetera within this network. But the platform also offers
features such as groups events, enabling users to join communities, organize events and follow public
figures, organizations or businesses. Facebook groups are often common identity groups as group
members associate around a common interest rather than the relationships with other group members.
Shared interest or affiliation but without necessarily seeking to develop interpersonal connections among
group members is a significant feature of it. The algorithms and features of Facebook such as friend
suggestions and mutual connections can introduce us to new people we may not have otherwise
encountered and thus expanding our social networks further. In terms of professional networking
Facebook provides an avenue where a user can contact anybody on it without going through near
inaccessible layers created by social and official hierarchies. It is for this reason that we cannot dismiss
the possibilities of professional networking through the use of Facebook. It has also become a platform
for education and learning with groups and pages devoted to specific topics and fields of studies. Some of
them are also listed below on this slide. Also, we find that Facebook has become an important tool for
social activism and advocacies with groups and pages dedicated to various causes and issues. It also
offers products and services including the Facebook marketplace, Facebook watch and Facebook
gaming. Marketers can use Facebook to run successful campaigns, engage with the audience and
analyze the outcome of their efforts. Facebook is a place you go to find people you know, but there is
another social networking site LinkedIn which is a place you go to find people you do not know. While this
is not literally true it also points to the fundamental difference between LinkedIn and the other popular
social networking platforms. They all involve networking, but the behavior expected on the LinkedIn
platform is somehow more professional than social. This slide displays certain professional assessments
of LinkedIn. Haydn Shaughnessy has called it a networker s paradise. Erin Binns has titled her advice to
young lawyers by saying that LinkedIn or locked out as not being a part of LinkedIn perhaps may result in
losing certain professional opportunities. LinkedIn for personal branding, the ultimate guide, a book by
Sandra Long is a comprehensive resource that focuses on utilizing LinkedIn to build and enhance one's
personal brand. LinkedIn also provides a formula for success if I may say so to grow enhance and expand
businesses and professional networks for every person in every profession. Its strength is that it helps its
members start with professionals they know well and are connected, which is the first-degree contacts
and through them get connected to their network that is the second-degree contact and through them
connect with more professionals in their network which is the third-degree contacts. LinkedIn is not a
charity, but a business for profit. It makes money from the profiles that millions of professionals upload
voluntarily. The business model of LinkedIn is built on the congruence of the interests of subscribers who
want to be noticed and buyers of the information they volunteer. In 2013, Nupur Anand has reported in the
newspaper DNA that is daily news analysis that for an annual fee of 2 like 50,000 Indian rupees, a
recruiter can get full access to all the profiles uploaded from India. LinkedIn makes it easy for members to
endorse others on the network for skills and expertise. A recruiter who buys talent solutions can also
communicate with the owners of the profiles through LinkedIn's InMail. LinkedIn also creates an
ecosystem that promotes professional growth through group discussions and debates. One of the biggest
attractions of it is an ever-growing set of short articles by globally recognized leaders from different
spheres. Influencers like Bill Gates, Richard Brinson and Barack Obama as well as several others have
often shared their views on life leadership and success on LinkedIn platforms. So, what should be the
strategies for effective networking via LinkedIn? To maximize our professional presence on LinkedIn, we
must provide a comprehensive overview of our expertise, experience and achievements while also
offering glimpses of our personality. We should also enhance discoverability. While crafting a LinkedIn
profile, it is important to include achievements that might interest fellow professionals. It can be done with
the use of appropriate keywords and latest skill sets and it would enhance the discoverability of a
particular person. However, one should avoid tried cliches and overuse buzzwords as they can make the
profile appear rather non-specific. Additionally, obtaining a customized URL can also enhance our
visibility. In order to build the strategic connections through LinkedIn, the keywords are identified, utilize
and reconnect. We should identify influential individuals who can contribute to our career development
even if they are not part of our immediate connections. We should utilize social media platforms to follow
and engage with industry leaders commenting on their articles and offering valuable insights and
feedback frequently. Additionally, it is also advisable to reconnect with individuals from the past sharing
updates on life and work so that these connections remain live. These strategies would help us to develop
the brand you to ensure that our LinkedIn profile accurately portrays the strengths and abilities whether
we are a professional manager, student or entrepreneur. It is also advisable that one should avoid
creating a false impression by exaggeration etcetera as it always big fires. Additionally, we can think of
optimizing our profile for mobile viewing to make a strong and impressive impact on recruiters or other
viewers, irrespective of the device they normally prefer or use to access it. This slide describes certain tips
to do a job search on LinkedIn. Before applying for a job on it, it is important to ensure that the profile we
want to post is complete. It includes endorsements and also recommendations. The job title section may
perhaps indicate in transition. We can also utilize the advanced search option on the LinkedIn jobs tab to
customize a job search by specifying job titles, keywords, company names, industries, job functions,
geographical area and many more things. We should also utilize different features of the LinkedIn jobs
tabs features such as email alerts from companies of interest, saving job details and viewing the number
of applicants etcetera. One should also ensure to edit the profile to match the job requirements. It is
recommended that one should always apply with a tailor-made covering letter. We can also search for
companies in our expertise area under the interests tab following companies, but also keeping our job
search activities private by adjusting our privacy settings. It also provides a list of other jobs viewed by
individuals who looked at the same type of job that offers additional job opportunities for consideration for
any applicant. When we look at a job listing on LinkedIn, we access details such as job description,
desired skills experience etcetera, and the page presents certain options which are listed below. It is
advisable among other things to personalize referral requests rather than relying solely on the provided
template of the LinkedIn. LinkedIn suggests similar jobs to make the job searching process easier and
provides the option of jobs alerts. The latest LinkedIn update has made chat GPT an invaluable resource
for job seekers providing personalized job search options, opportunities exploration, company research,
resume and cover letter improvements, LinkedIn profile optimization and interview preparation. Uploading
a video resume on your LinkedIn profile is a great way to catch the attention of recruiters. Let us look at a
sample video resume here that can be a reference point when creating your own. Hi, my name is Laura
Harris, and I am a front-end web developer. I am looking for a job and instead of just sending out the
usual cover letter resume, I am making this quick video so that you can more easily learn a little about me
because we all know what happens to a lot of cover letter resumes. So let me tell you a little bit about
myself. I am from a tiny town called Franklin, North Carolina which is right here. For the last few years I
have lived in Greenville, South Carolina over here. In November 2015 I graduated from the Iron Yard. For
those of you who are unfamiliar with the Iron Yard program, you can click here to learn about the training
we provide. My focus was on front end development where I learned all of these skills here. I love what I
have learned, and I am excited about what I have been working on since. I have been creating custom
web layouts, navigations, and smooth user experience designs. While at the same time increasing my
knowledge in Photoshop, CSS frameworks, and JavaScript libraries. As a recent graduate from Iron Yard,
I am an excellent candidate for a company or team looking to capitalize on what I currently know and mold
me into what they specifically mean. I am always up for a challenge, and I am looking for a place where I
can continue to grow and learn. You can check out my portfolio here or you can contact me directly here.
Thank you for your time. I'd love to hear from you. Hopefully we'll be working together soon. In this video,
the applicant begins by introducing herself, her name and current job position, and she also clearly states
her objective for making the video that is to find a job as a web developer. Then she shares a bit about
her background, education, and the skills and also highlights her personality strengths. The video
concludes with her presenting her portfolio and providing her contact details. Video resumes offer a
unique and attention-grabbing format, leaving a memorable impression on recruiters as well as other
viewers. We have more control in video resumes over the narrative and we can also easily showcase our
personality and communication skills. Video resumes also make the recruitment process less intimidating
and often they empower candidates to feel confident and well prepared for interviews. As a social media
platform, Microsoft-owned LinkedIn was launched in 2009 in India and since then it has grown
remarkably. In February 2023, the registered members in India had surpassed 100 million, solidifying
India's position as the second largest user base after the US. Keeping it in mind, LinkedIn also launched
LinkedIn in Hindi in December 2021. The idea is to make the platform more approachable and improve
the user experience. The platform is available in 26 languages globally, but the inclusion of Hindi was a
massive investment in the Indian market. The implications of these developments for professionals in
India are twofold. First, having a LinkedIn profile has now become crucial for professional growth and
accessing job opportunities in India. Secondly, operating within the Indian borders while using the
LinkedIn platform, individuals become global players necessarily and it results in increased competition
and also simultaneously having many better opportunities. In conclusion, we can say that social
networking sites have brought about a transformative shift in the way we communicate and connect with
others on a global level. As these platforms continue to shape the way we interact, collaborate and build
relationships in online platforms, it also nurtures our participatory instincts while bridging our offline social
networking skills. It includes not only social networking sites, but also other forms of online communication
such as blogging and microblogging platforms, video sharing platforms and photo sharing platforms.
Today, we have discussed the role and significance of social networking sites for professional growth
using digital communication. In the next module, we will discuss blogging and microblogging with
reference to some social networking sites and their impact on our digital lives.

Blogging and Micro-blogging

We begin by tracing the development of these aspects of digital communication. The term blog was first
used in 1999 by Peter Merholz. And as we can understand, this is a truncation of the word coined by John
Barger. Godwin-Jones has described blogs as one large loosely interwoven net of information as blog
entries are linked, referenced and also debated. Blogs are interactive web 2.0 websites which allow
visitors to leave comments and fostering social comments between bloggers and readers. Apart from
personal use, the commercialization of blogging has also been on the rise today as corporations
collaborate with bloggers for advertising purposes. Most blogs are primarily textual, although some focus
on art, photographs, which are known as art blogs and photo blogs. There can be videos, video blogs or
blogs or music that is mp3 blogs and audio blogs which are known as podcasts. After a slow start in the
90s, blogging rapidly gained its popularity. The modern blog evolved from the online diary where people
would keep a running account of the events of their personal lives. And online diaries became the first
blog community where readers could add comments to the blog entries of other writers. Online diaries
were started in 1994. Claudio Pinhanez's open diary as a web page was published during 1994 to 1996.
Bruce Ableson had also launched open diary in October 1998 which soon grew to thousands of online
diaries. Ableson also built the first system for blog comments and innovated the use of friend s list privacy
settings and activity feed on the site. One of the early blogs was Wearable Wireless Webcam, an online
shared diary of an individual s personal life combining text, digital video and digital pictures transmitted
live from a wearable computer and iTap device to a website in 1994. The practice of semi-automated
blogging with live video along with the text was referred to as sousveillance, and such journals were also
used as evidence in legal matters. Before the term blog itself became popular, there were several digital
communities in various forms. For example, Usenet, Genie, Bix, CompuServe, E-mail lists, Bulletin Board
Systems and threads, etc. Several names during the 1990s compete for getting the credit of having
invented blogs and we can refer to Ian Ring, Dave Winer, John Barger, etc. But with the progression of
technology, particularly with the inclusion of permalinks, blogrolls and track backs, we find that the
technology became user savvy as far as writing the blogs was concerned and therefore it soon gained
popularity among those people also who were not primarily very tech savvy. It was around 2002 that
people also started to monetize their blogs with sites like Blockheads, which is a precursor to Google
AdSense.The importance of the blogging community and its relationship to larger society increased
rapidly. Established schools of journalism also began researching and discussing blogging and soon we
find that blogs also became a creditable news source. An early milestone in the rise in the importance of
blogs came in 2002 when many bloggers focused on comments by US Senate Majority Leader Trent Lott.
These comments were ignored by the popular media sources. However, once the bloggers started to
comment on it, it soon gave rise to an increased public sentiment. During a party meeting, which was
organized to honor US Senator Storm Thurmond, Senator Lott had praised him by suggesting that
perhaps his presidency would have been a better idea for the country. Lott's critics saw these comments
as tacit approval of racial segregation, which was used as his strategy by Thurmond in his earlier
campaigns. This view, which was proposed and taken up by the bloggers, but was ignored by the media
altogether, was reinforced by documents and recorded interviews, which were dug up by bloggers and
eventually this led Senator Lott to resign from his leadership position in the Senate. By 2004, the role of
blogs became increasingly mainstream as political consultants, news services and candidates started to
use them as tools for outreach and opinion forming. The question which at this stage we should ask is
whether blogging is a private or a public act of communication. In this context, I would refer to the
research article by Gurak and Antonijevic, who have discussed blogging from a different perspective.
They suggest that the phenomenon and practice of blogging offer a rich environment from which to look at
the psychology of the internet. Blogs illustrate the fusion of key elements of human desire and that is to
express oneself, to express one's identity, create a community and structure one's own experiences in the
past and present. The character of blogs as simultaneously private and public enables the formation of
both individual and group identities. Gurok and Antoni Jevic suggest that weblogs invoke the notion of a
contradictory genre and activity with you, me and everyone in between being brought into a single semi-
private or semi-public space and experience. They also conclude that blogging works as a bridge between
private and public as it creates the widest arena of the blog sphere or multi-scale social space, where
writing or reading blogs designates one to many interactions facilitating and enabling group forming of a
community. To know more about collective community of weblogs, we must also understand the concept
of blogosphere. The term blogosphere is a portmanteau of blog and atmosphere. It is Amy Lupold Bair
who in her 2019 book has first talked about blogging as blogosphere, an exciting online space that people
use to share their lives, to build communities and also to create personal brand platforms. Blogosphere
thus can be understood as a virtual world of interconnected blogs and websites dedicated to sharing
ideas, opinions, theories, our own knowledge etc. Blog search engines like bloglines, blogscope and
technoretty have been used to search blog content and discover relevant information. Blogosphere is
often compared to grassroots journalism where each member is able to post on any topic that interlinks to
their personal interest. Primarily if we look at blogging as personal escape, it allows us to document our
life events, to talk about our experiences, to allow us certain self-reflection, talk about our futuristic vision.
It also therefore provides a creative outlet while fostering connections within a supportive community. This
urge to communicate appears in all kinds of medium from scrapbooking to taking digital photographs and
Jennifer Leal, a Rhode Island based blogger has used her blog Savor the Thyme which is shown in the
picture on the right-hand side of this slide to document her experiences with leukemia. Maintaining this
blog has motivated her to raise awareness about the need for bone marrow donors for cancer fighters.
Blogging also allows us to share information and we can talk about anything local or national or even
international. It also helps us to receive timely updates and detailed analysis on various topics. Educators
also leverage information blogs to keep parents and students informed about classroom activities,
upcoming events and important dates, fostering effective communication and engagement within the
educational community. TechCrunch, although primarily known as technology news and media platform
also serves as an informational blog. TechCrunch hosts a community of bloggers who contribute their
insights, opinions and expertise on various tech related topics. Numerous companies, both small and
large incorporate blogs into their websites to initiate interactive dialogues with their customers. Personal
connection through blogging improves the credibility of a company and also simultaneously enhances
customer recognition of its brand and values. Here we have cited the example of the blog which is
maintained by the Southwest Airlines. But similarly, we find that other organizations as well as other
airlines also maintain similar type of blog which pass on timely information to their travelers. For many
bloggers, blog itself is their way of becoming an online influencer and creating a blog is an excellent way
to put down some roots on the internet, build an online community and establish an online footprint. We
can cite several examples in this regard. One of the examples taken over here is the craft blog by Time
Craft which is shown in the figure which combines a popular crafting blog with an online crafting
community through their popular forums. It is also essential to note that not every blog allows comments.
Many popular bloggers find that they are being overwhelmed by the sheer volume of responses and want
to avoid controversial situations. Let us now look at the concept of vlogging or video blogging. Vlog is a
short-term term for video blog, and it refers to a form of blogging that uses video as the primary content.
Vlog entries are made regularly and often combine embedded video or a video link with supporting text,
images and other things. Compared to textual blogs or audio blogs, vlogs can be used in a much wider
range of applications such as online education and learning, online gaming, product marketing, news
reporting, trivialogues etc. In the rapidly evolving era of blogging, several camera apps have emerged as
a groundbreaking tool for vlogging, live streaming and content creation. Some popular apps are
Expression Camera, FaceApp, Face Swapper and Frame.io etc. Their innovative functions as a creator
platform support an array of memes, GIFs, cinematic and social content generators etc. which help us to
produce original content in a smooth fashion. Some of these apps also maintain complete privacy by
allowing the user to change the image on the screen. Let us look at one video in order to better
understand how these features help us to shoot our own avatar for blogging purposes. Here we have
taken an example of Expression Camera app which is merely for illustration purposes. Expression
Camera is made by Embody Me, and it was selected as the number one product of the week in its beta
phase on Product Hunt. Now not only can you use it to hide your background, but you can use pre-loaded
or even some images that you upload to transform into your on-screen avatar while you're using a
webcam. And since it doesn't require any pre-processing, not only can you make scripted content with it,
but you can use it in live stream situations as well. This app is free to download and use and we also offer
a paid version for those who would like access to further customization and utility. This app is compatible
with both Windows and Mac so let's go over a quick rundown of how to get started with this program.
When you open Expression Camera, this is what it's going to look like. It's split up into two. Now along
with blogging, we are also familiar with the word microblogging Now if we are already blogging, why do we
need microblogging at all? Perhaps a similar question might have been asked earlier too. If we have email
already, why do we need WhatsApp ultimately? However, blogging and microblogging are two different
things. We can define microblogging as a shorter form of blogging that allows us to send messages
quickly. It is immediate, mobile friendly and portable. While traditional blogs can be hosted on many
different websites, microblogs are typically hosted on social networking websites. We can say that
microblogging is gaining widespread acceptance as the new tech-savvy way of sharing information.
Unlike most social media sites, microblogging sites limit the amount of content. That means that users can
upload to their accounts at a time only a predefined length of content. I would refer to a research by Martin
Ebner and Mandy Schifner who had conducted a survey in 2016 to find out options about the main
differences between blogging and microblogging and also which particular way of blogging is preferred by
the users for what reasons. They found that most of the respondents did not always prefer to write long
texts which they have to in normal blogs. For them, microblogging is much easier and faster. Also, many
young people saw normal blogs as tools for knowledge saving, coherent statements and detailed
discourses. Whereas microblogging is used mostly for writing about their quick reflections. The first
microblogs were known as Tumblogs. This term was coined in a blog post in April 2005. However, by
2006 and 2007, the word microblog was used more widely for services provided by established sites like
Tumblr and Twitter. As of May 2007, there were 111 microblogging sites in various countries and among
the most notable services were Twitter, Tumblr, Mastodon, Micro.blog, Plurk, Jaiku, FriendFeed and
ident.ica etc. These sites have minor differences in terms of their functions. For example, Plurk has a
timeline view that integrates video and picture sharing or Flipter may use microblogging as a platform for
people to post topics and gather the opinions of the audience. Pink gadget is a location based
microblogging service etc. We can also say that we are microblogging each time we update our status on
Facebook or share information about our current project on LinkedIn. But there are subtler differences
here. Social networking websites like Facebook, MySpace, LinkedIn, Diaspora, Google Buzz and Zinc etc.
also have their own microblogging feature which are better known as status updates. Status updates are
usually more restricted than actual microblogging in terms of writing. It can be said that any activity
involving posting short messages can be classified as microblogging although it is usually not considered
a microblogging site or service if it is a secondary rather than the principal service provided there.
Microblogs are indexed by search engines just as quickly as traditional blogging and are usually listed
higher on search engine results. Microblogging is therefore beneficial not only in maintaining context but
also particularly in business. It is also useful for working together in communities that are only loosely
held. In the field of teaching also it is emerging as an alternative to some other online media like
Blackboard or Moodle which most of the time perhaps are not that agile. While there are several
microblogging sites such as Weibo, Poink, Yammer, Plurk etc. Twitter is by far the most popular. In his
2009 book, Joel Comm has commented that what really distinguishes Twitter from other sites is its
simplicity. Twitter was created by Jack Dorsey, Noah Glass, Biz Stone and Evan Williams in March 2006
and launched in July in the same year. Its former parent company, Twitter Inc. was based in San
Francisco and had more than 25 offices around the world. It was acquired by Elon Musk in October 2022
and recently Musk has replaced the company's bluebird silhouette with x , a term for what he has
described as an everything app . The application will soon perhaps allow users to add long form text to
their tweets. Twitter was found in 2006 but by 2012 more than 100 million users had already joined it and
soon it became one of the 10 most visited websites. The special ability of Twitter to reach a large number
of people has led to the creation of many living communities around leaders in different spheres of life
such as politics, religion, fashion, mass media, and commerce etc. The medium has become so popular
that Melinda Emerson who built a Twitter community is almost idolatrous in her praise of this platform.
There are countless examples when Twitter as a microblogging site spread news and awareness to
people across the world. The power of Twitter has been repeatedly demonstrated in breaking news about
major events and developments worldwide. We can cite examples of the terrorist attack in Mumbai in
November 2008 which was immediately tweeted and retweeted with the help of this medium. Similarly,
information about flight delays, unfortunate flight pressures etc. is also immediately reported. Because of
the immediacy and ease with which we can communicate with each other to a larger audience, it is being
successfully used by popular figures in all fields. The growing influence of social media and blogging and
microblogging sites can be seen also in the top leadership circuits in every field who often use it very
successfully. Even the Indian Prime Minister's office has a Twitter account with 53 million followers. A
well-known example of the reach of Twitter is the case of James Karl Buck, an American student who
managed to free himself from an Egyptian jail within 24 hours of tweeting just one word arrested. The
picture on the right-hand side illustrates it very aptly. Buck was arrested when he was covering an anti-
government protest as part of his master's thesis project on Egypt's New Leftists and the blogosphere.
The one-word tweet helped him reach contacts who could get him freed from prison. Over the years,
Twitter has also emerged as a catalyst for social change in recent years from promoting awareness of
climate change to sparking discussions around gender and racial inequalities. There are several
successful cause campaigns on Twitter which might be referred to. We can refer to #LetMeLearn
campaign, interface business solutions, Maybelline New York India which used a tongue-in-cheek
catchphrase to market their super-stay lipstick on social media in 2013 and the use by #FoxyMoron who
launched the campaign using the #doesnotlastlongenough. Twitter has also become a key platform for
some of the world's top experts to contribute to real-time knowledge sharing and provide inputs on policy
making. It was also highly effective during the COVID-19 pandemic when airlines publicised the changing
guidelines through Twitter also, and it had been instrumental in spreading awareness about the COVID-19
pandemic, information on vaccines precautions as well as several other updates. COVID-19 related
advisories were retweeted and forwarded to members of other Twitter communities by users for rules
regarding health checks etc. on arrival in different countries and also, we can refer to the campaign
Vaccines Work which promoted the importance and effectiveness of vaccines in preventing disease.
However, Twitter has also been criticised for the banality of several of its tweets. Pear Analytics, a Texas-
based firm which specialises in marketing analytics and insights, studied the Twitter usage patterns in
2009 and concluded that more than 40% of all tweets are pointless babble . In response to this finding,
another internet researcher, Danah Boyd, had remarked that most of the expressions are like the phatic
expressions which are necessary for any type of social conversations. They are like icebreakers and
therefore these expressions also serve a certain purpose. Though recognised as a successful social
networking platform, Twitter has also been involved in numerous controversies over the years. For
example, in 2011, it was involved in a legal battle with a UK footballer who had taken out a super
injunction to prevent the media from reporting on his extramarital affair. In 2013, Twitter was hacked, and
the accounts of several high-profile individuals were compromised. The list included Obama and Bill
Gates too. Some commentators have also suggested that since the takeover of Twitter in 2022 by Elon
Musk, the platform has been embroiled in several controversies. They have suggested that there is an
alleged surge in racist and anti-Semitic tweets as well as reports of panicked workers who are worried
about their job security. Almost a month after Musk purchased Twitter, the social network reported that it
would no longer apply the policy of misleading information about COVID-19. This in itself is rather
suggestive. Another controversy involving users was the banning of accounts by journalists from
publications such as the New York Times and the Washington Post who issued opinions contrary to
Musk's ideas. This action was heavily criticised, including by European public bodies, as it violates press
freedom. Several controversies also surrounded the expulsion of Donald Trump from the use of his
Twitter account. We would also briefly look at two other apps, Saina Weibo and Koo. After the 2009 riots
in north-western China, domestic microblogging services including Fanfou, the very first Weibo service
and international microblogging services like Twitter, Facebook and Plurk were banned by the Chinese
government. This gap was filled by the Sina Corporation. So, Sina Weibo is a Chinese microblogging
website which was launched in 2009. Its logo is an eye symbol which represents the power to see
through crises and save lives. Weibo envisions developments towards a micro charity platform and a
micro reading platform. Indian microblogging sites cater to the Indian audience and promote
conversations on various topics. Prominent among these is Koo, launched in March 2020. It has now
become the second largest multilingual microblogging platform available to the world. Koo is co-founded
by Aprameya Radhakrishna and Mayank Bidawatka. It was launched in early 2020 and had won the
Aatmanirbhar app innovation challenge. We selected the best apps from more than 7,000 entries across
the country. In the short period, Koo is now being used in more than 100 countries across its app and web
platform. In 2021, Koo introduced a new feature called Talk to Type which allows its users to create a post
with the help of the voice assistant. Koo is currently available in more than 20 languages. It has over 50
billion downloads and is actively leveraged by over 8,000 eminent personalities across various areas. An
innovator of language-based microblogging, Koo democratizes the voices of people by empowering them
to share their thoughts and express freely in a language of their choice. So, we can say that blogging and
microblogging platforms enable the sharing of the news, expression of the news and thus contribute to the
public as well as private discourse connecting us with diverse communities. And therefore, it is very
helpful through its video content and written and audio posts, etc. Microblogging sites advocate social
issues and can also drive positive social changes. In the next module, we shall discuss how different
social media platforms have increasingly become a prominent source of social support due to their
widespread use and accessibility. At this point, I am also referring to a video by Darren Rowse for further
reference. Rowse is a founder of Problogger.net and actively shares insights on LinkedIn, Instagram and
YouTube to offer tips for bloggers. The video which I am sharing here discusses the monetization
potential of blogging. It may be of interest to some of us. Interested people can watch it later on.

Online support and Social Media-

Today, in this present module, we shall discuss how digital communication and social media can offer
support to individuals and communities during their times of need. Social support refers to the assistance
and encouragement we receive from our social networks such as family, friends, peers, and online
communities too in today's world. Traditionally, as we know, it has been offline, meeting with a friend, for
example, or spending time with family. However, digital communication has made it possible in the online
mode also. It encompasses emotional, informational, extended social networks, and tangible forms of help
that sustain us during challenging or stressful situations. On digital platforms, social media serves as a
valuable tool for maintaining such connections. Though social media should not be a substitute for face-
to-face interactions, yet it has a wider reach as it transcends geographical barriers and can also be
reached, understood, and acted upon by total strangers too. Several researchers have pointed out that
seeking and providing social support is a crucial aspect of human communication as individuals rely on it
to cope with stress and uncertainty. Here we have referred to a 1987 work of Albrecht and Adelman who
have suggested that social support serves the purpose of reducing uncertainty about a situation, our own
self, the other person, or the relationship. This stands valid in the context of online social media networks,
which may offer us social and individual sustenance also. It may be verbal as well as non-verbal
depending on the needs and also the preference of the provider. Nowadays, we see that more and more
people are approaching online communities through social media to seek support in their times of grief.
Online tools have become instrumental in connecting individuals with larger networks. As early as 2005,
Eastin and LaRose have suggested that online tools have become instrumental in connecting individuals
with larger networks and thus enabling them to seek various forms of social support. The reason behind
this shift from the offline to online groups has enabled the individuals to access more people or people
who are better equipped to offer the type of support they require. It also simultaneously provides us with a
means of fulfilling the emotional and psychological need for support. The feeling of being supported and
connected to others has positive effects on our mental health and overall well-being and therefore social
support is a major determinant of health and well-being. Numerous studies support this idea and indicate
that social support is essential for maintaining not only physical but also particularly psychological health.
Studies have come out which suggest that individuals who spend more time in communicating with online
support group members are more likely to have a larger online support network and a higher level of
support network satisfaction. Other researchers remark that core members who are most actively
engaged in online group communication provided and received better and more emotional social support
in comparison to the peripheral members. In the context of diseases related with mental illness, the
harmful consequences of poor social support have also been well documented. Social support may
moderate genetic and environmental vulnerabilities and confer resilience to stress possibly via its effect
on the HPA system, the noradrenergic system and the central oxytocin pathways. Online available
research and specific interventions to increase social support for psychiatrically ill and at-risk populations
is helpful in increasing awareness. Such studies can provide tangible medical benefits as well as online
social support. Additionally, we find that self-disclosure is pervasive on social media. Research proves
that it has significant implications for psychological well-being. There is a bi-directional relationship
between well-being and self-disclosure on social media. I would refer to a research paper by Luo and
Hancock who have tried to synthesize recent researches on the motivations, mechanisms and effects of
online self-disclosure on well-being of the people and also propose a framework that highlights the bi-
directional relationship between self-disclosure on social media and the idea of one's well-being. They
disclose how self-disclosure fulfills particular needs of individuals with different well-being characteristics.
The diagram given on this slide has been taken from this research paper by Luo and Hancock and it
indicates to us the relationship which exists between the quantity and quality of self-disclosure on the
social media platforms and its relationship with our perceived understanding of well-being. It talks about
the perceived connectedness, the social support, capitalization process as well as perceived authenticity.
These mechanisms available to us with the help of the social media generate a sense of psychological
well-being in us which helps us to avoid the distress and also provides us positive emotion, life
satisfaction and a sense of better self-esteem. It leads us to interpersonal and intrapersonal motivations
also. Social media has enhanced positive social perceptions regarding various issues. We can cite how it
significantly boosted the visibility of Paralympic athletes and their accomplishments during the 2020
Paralympic Games, commenting and sharing about it across platforms like Facebook, Twitter and
Instagram etc. To illustrate it further, we will look at the example of Avani Lekhara, an Indian Paralympic
gold medalist who unfortunately met with a life altering car accident in 2012 that left her in a wheelchair.
Her journey took a historic turn at the 2020 Tokyo Paralympics where she secured a gold medal in the
women's 10 metre air rifle standing and a bronze medal in 50 metre rifle 3 positions marking the first time
an Indian woman clinched two Paralympic medals. Avani Lekhara's Twitter account has received
numerous messages of support and admiration from people who have been inspired by her
achievements. Her remarkable achievements were celebrated widely on social media and also became a
beacon of inspiration to individuals with special abilities, encouraging others to pursue their aspirations.
We would also refer to some other online support groups in this context. They are Super.Human, Better
Off With An Ally, #WeThe15. Super.human by channel 4 covers the Paralympic Games in depth and
depicts what it takes to be a Paralympian, that means the blood, sweat and tears poured into the
dedication of the athletes. Better Off With An Ally by the digital financial services company Ally throws the
spotlight on all the people supporting the athlete ecosystem and portrays their contribution to the Games.
The global launch of the decade long campaign #WeThe15 by Paralympic Games aims to support the 1.2
billion differently abled people in the world. This campaign intends to put disability on the inclusion
agenda, change people's perception about it and also create online connections to further strengthen
different relational ties within the society. Although social media is important for providing access to latent
ties and keeping us connected with weak ties, they also can help us communicate and interact with strong
ties. And it is these strong ties whether we know them offline or not, which can be a source of social
support to us. Now, let us look at the four different types of social support. Though various models for it
are available, I refer to the one proposed by Cutrona and Suhr. In 1992, Cutrona and Suhr had mentioned
four dimensions of social support that is emotional, esteem, informational and instrumental support. The
visual on the right-hand side of the slide also illustrates it. Emotional support refers to the expressions of
interpersonal caring or emotion. The receiving of such messages creates what is known as a buffering
effect. That is, there is a protective layer or a buffer zone against the negative consequences of mental
health between us and the traumatic situation we are facing. Esteem support refers to messages intended
to make someone feel better about themselves, including promoting the target's skills, abilities or sense of
self-esteem. For example, if somehow a friend has not done very well in the examination, we can support
this individual by reminding her that she has a different potential and would definitely be successful later
on. Esteem support involves the provision of positive feedback, recognition and affirmation of an
individual's abilities. Informational support refers to the provision of facts or advice. It involves providing
information, advice or guidance to help someone solve a problem, make a decision or learn something
new. Instrumental support refers to providing material assistance, often in the form of financial aid or
practical assistance. For example, lending money or textbook or any other equipment to a person within
our circle. All these examples illustrate certain forms of social support that can be readily communicated
through digital forms of online media, particularly with the help of the emerging networks which are easily
available to us. It has been suggested by Boyd and Ellison and this research was conducted in 2007.
Those were the very early days of social media. But now we find that the efficacy and validity of this
research has sustained even the recent developments of the social media. They had found that the social
media becomes a significant means of daily conversations, providing us the phatic alternatives of our
offline communication with people. The use of social media can reinforce existing social relations by
keeping individuals informed of other people's activities. The constant stream of information allows us to
stay connected with friends, family and acquaintances, and even if they are physically distant, we have a
feeling of being connected with them. Boyd and Ellison have suggested that social media use can play a
positive role in enhancing interpersonal relationships. Social media can allow unique access to social ties.
However, they should not be seen as a substitute for face-to-face interactions or deep meaningful
personal connections with individuals. Social media has opened up distinctive avenues for accessing
social support and has introduced innovative ways of offering it. Personal disclosures made on social
media such as through status messages or posts can create perceptions of intimacy among members of
one social network, and it definitely enhances relationships through ambient awareness and indirect
communication. Social support can also be provided directly via social media from strong ties. This shift
means that emotional closeness no longer relies solely on physical proximity. As a consequence of
globalized and mobilized societal and personal networks, strong ties can be really distant in terms of
geographical distance. Strong ties are close intimate relationships characterized by emotional bonds and
frequent interactions with family and close friends. They have a significant impact on our daily life,
decision making and they also provide emotional support at various junctures in our experiences. Weak
ties on the other hand are casual relationships with acquaintances and colleagues involving infrequent
interactions and lower emotional intensity. Despite their distant nature, weak ties also offer valuable
access to new information, opportunities and diverse perspectives from outside one's immediate social
circle. Social media platforms like Instagram provide individuals with the opportunity to seek support and
share personal achievements with those loved ones who are living and residing in distant locations
without the need to travel this distance. By utilizing features like tagging and engagement, individuals on
Instagram can establish connections with their distant contacts, enabling them to receive the social
support they seek and share their accomplishments from afar etc. It is this capability of remote interaction
with the help of the social media platforms that exemplifies how technology has facilitated the exchange
of support and celebration across geographical distances. The shift towards relying on digital platforms
emphasizes the role of social media as an alternative avenue for seeking and receiving social support. It
eliminates the requirement for physical presence and allows individuals to communicate and connect with
distant ties. This demonstrates the transformative impact of social media in bridging geographical gaps
and facilitating meaningful interactions for social support. Since the mid-1980s, internet communities have
been utilized by people to seek and provide social support, particularly with our strong ties. These early
communities also facilitated close, deep and strong personal ties among members, even if they have
never met face to face as described by Rheingold in 1993. According to him, it may not be possible to
have a strong bond with someone we have never met. However, the hyper personal model available to us
with the help of the social media platforms provides rationally and theoretical support for this
phenomenon. In the realm of social networking sites, individuals often turn to their strong ties within their
established network, particularly when they have to seek support for any personal situation. As these
relationships are the most reliable and offer substantial support. The 2020 research by Kammrath et al.
emphasizes the significance of strong ties as both the primary recipients and providers of substantive
support within such communities. While strong ties remain crucial for social support, the availability of a
diverse network through social media expands the options for seeking the most appropriate support. In a
pair of studies, researchers at the University of Oklahoma looked at how college students sought and
received social support via Facebook. When students far away from home and family posted a message
on Facebook seeking validation or a caring word, they posted a status message visible to their entire
Facebook network. But with a specific limited audience in mind, that is their close friends and family.
Social support can also be sought and received at the same time from weak ties. In researches on job
seeking behavior, it has been found that individuals often obtained employment opportunities through
weak ties rather than their strong ties. Weak ties, for example, casual acquaintances or distant friends
provided access to a broader network and diverse resources, including information about new jobs,
referrals and also recommendations. This demonstrates how weak ties also play a significant role in
facilitating important outcomes and providing support in a specific context. However, at the same time, it
has also been found interestingly within the same studies that social support was received alike in the
same manner from strong as well as weak ties. Both close friends and mere acquaintances commented
on status updates with supportive messages. However, it was also noticed that comments from strong ties
were perceived as slightly more supportive than comments from weak ties. Sanghee Oh and Sue Yeon
Syn in their 2015 research article have explored the motivations behind social media users who share
their personal experiences, information and seek social support with anonymous others. A variety of
information sharing activities in social media, including creating postings, photos and videos in five
different types of major social media were observed by these researchers. And they found that the array
of different motivations always plays a role in encouraging information sharing, but the specific
motivations differ across different types of social media platforms. Motivations of learning and reciprocity
are beneficial in encouraging users with less experience in social media. And at this point, it brings us to
the discussion of the role of social media influencers. Social media influencers are trusted within their
communities and therefore, they play a significant role in impacting social support online, spreading
awareness, raising funds, etc., during our times of need. In this context, let us refer to CauseVox, which is
a fundraising platform, and which helps us for peer-to-peer fundraising, as well as crowdfunding, etc.
CauseVox offers a guide on utilizing social media influencers to drive online fundraising and crowdfunding
campaigns. This slide describes about how in 2010, leaders, a recognized authority in business
operations and digital transformation coordinated a fundraiser for the Japan earthquake victims during
Austin s SXSW conference, utilizing the support of social media influencers. The outcome was
remarkable with thousands of people providing financial help to the Japanese people. Some influencers
dedicate their efforts to nonprofit causes, working for the betterment of people. Following slides refer to
some influencers in this context and discuss in limited details about Beth Kanter, Gail Perry, Amy Neuman
and Matt Flannery. Beth Kanter runs the popular nonprofit blog, whereas Gail Perry is an international
fundraising consultant. Amy Neuman provides suggestions for the use of smart technology as well as
communication strategies, whereas Matt Flannery has lent support to low-income entrepreneurs with the
help of the social media. In this digital world, change is a constant phenomenon and in this ever-changing
digital world with the nature of communication, nature of helping each other has also changed.
Community ties are both a product and a cause of role relationships. Let us look at a video of Amy
Sample ward, who serves as the CEO of nonprofit technology enterprise network, an organization which
provides training opportunities to strategically use technology to fulfill nonprofit missions and address
community needs. What type of platform or technology are you most excited about that you're paying
attention is on your radar right now? What new things are you really enjoying? That's a good question. I
don't know. I'm really enjoying not necessarily, you know, one specific tool or one specific platform, but I'm
really excited for the growth of tools or solutions that enable organizations to more seamlessly interact
across channels so that they aren't just siloed in to Facebook. But if they have a really compelling piece of
content or they see a conversation is starting amongst their community, they can help support and
facilitate that conversation across different channels. What are good examples of this? Like, what
campaign have you seen that did this? Well, one good example that has been talked about here and was
very recent, which was Planned Parenthood and Susan G. Komen for the Cure and Planned Parenthood
recognized that their supporters were very upset and passionate right away, but across different channels.
And so they couldn't just, you know, send out a message that said, well, if funding goes away, give us
more funding over and over on all the different channels. They had to actually, you know, make sure that
there was a hashtag or try and find hashtags that were being used on Twitter and engage people there in
that message. And then on Facebook, similarly, you know, thank people that just wanted to share that
they supported them, but also make sure to provide information as all those different kinds of voices are
commenting and saying this is outrageous or I'm so glad they defunded you or somewhere in the middle,
you know, and engage with people appropriately within that channel. And then obviously, you know, they
have advocacy website versus health service website and make sure there s information there in as soon
to real time as possible that helps people across those different channels and of course, email and mobile
and everything else. Amy has rightly pointed out that we should move across different social media
platforms to maximize the chances of sharing information. This will help us in engaging people from
different communities outside the regular enclosed social ties. Social scientists, as well as biologists,
debate the extent to which relational social structural or personal characteristics impact social behavior
Barry Wellman and Scott Wortley in their 1990 research had looked at certain explanations for the
interpersonal provision of support and they evaluated emotional aid, small services, large services,
financial aid and companionship. Using the quantitative and qualitative data, they compared the
supportiveness of a strong and weaker relationships. Different types of community ties are likely to
provide different kinds of social support and certain types of ties may be more specialized or brought in
resources. Their research addresses the question of what factors crucially affect the provision of
resources, the characteristics of ties, their social context or the characteristics of network members. In this
context, let us refer to a TED talk by Amanda Palmer, who is an author, musician and blogger. She
highlights the deep connections she had formed with her audience through genuine interaction and trust.
In other words, like Amy Ward, she also emphasizes on the concept of the art of asking . And meanwhile,
I was touring locally and playing in nightclubs with my band, the Dresden Dolls. This is me on piano, a
genius drummer. I wrote the songs and eventually we started making enough money that I could quit
being a statue. And as we started touring, I really didn't want to lose this sense of direct connection with
people because I loved it. So, after all of our shows, we would sign autographs and hug fans and hang
out and talk to people. And we made an art out of asking people to help us and join us. And I would track
down local musicians and artists and they would set up outside of our shows and they would pass the hat
and then they would come in and join us on stage. So we had this rotating smorgasbord of weird random
circus guests. And then Twitter came along and made things even more magic because I could ask
instantly for anything, anywhere. So, I would need a piano to practice on and an hour later I would be at a
fan's house. This is in London. People would bring home cooked food to us all over the world backstage
and feed us and eat with us. This is in Seattle. Fans who worked in museums and stores and any kind of
public space would wave their hands if I would decide to do a last minute spontaneous free gig. This is a
library in Auckland. On Saturday, I tweeted for this crate and hat because I did not want to schlep them
from the East Coast and they showed up care of this dude, Chris from Newport Beach, who says hello. I
once tweeted where in Melbourne can I buy a neti pot and a nurse from a hospital drove one right at that
moment to the cafe I was in and I bought her a smoothie and we sat there talking about nursing and
death. And I love this kind of random closeness which is lucky because I do a lot of couch surfing. So I
fought my way off my label and for my next project with my new band, the Grand Theft Orchestra, I turned
to crowdfunding and I fell into those thousands of connections that I'd made and I asked my crowd to
catch me. And the goal was a hundred thousand dollars. My fans backed me at nearly 1.2 million which
was the biggest music crowdfunding project to date. And you can see how many people it is. It's about
25,000 people. And the media asked, Amanda, the music business is tanking and you encourage piracy.
How do you make all these people pay for music? And the real answer is I didn't make them. I asked
them. And through the very act of asking people, I connected with them. And when you connect with
them, people want to help you. In the context of being able to seek help or to be willing to help others,
online support can have a positive impact on health efficacy also. Online communities play a significant
role in enabling us to provide social support around a variety of health and wellbeing challenges ranging
from cancer to diabetes by sharing our personal experiences, the different types of treatments, seeking
the advice of the medical professionals. Online communities have been identified to be powerful
platforms where disease-specific guidance and feedback is available to us. And a rich body of research
work which examines the important role played by online communities in this area exists. In the realm of
mental health particularly, a recent meta-analysis indicates that online support is effective in decreasing
depression and increasing self-efficacy and quality of life. Some popular online communities for
individuals seeking mental health support are Together All and LiveWorks that offer peer support and
resources. Another one, the Dinner Party is a community of people who have experienced significant loss.
They host dinner parties where people can connect and share their experiences and also have an online
community for those who cannot attend in person. Online communities thus provide a platform for
individuals to connect, share experiences and seek advice and at the same time, they also enable us to
offer support to other people, fostering a sense of wellbeing and reducing our isolation in today's fast-
paced world. Through fundraising efforts, knowledge sharing and collaborative initiatives, these
communities make a real difference in improving our lives and protecting the welfare During this week, we
have discussed AI and online communication and have also explored different aspects of social media as
a part of today's personal and professional digital communication. We will begin the next week with
discussions on social media marketing and the role of social media in entertainment and advertising.

WEEK 8
Social media marketing

we shall look at the social media and networking platforms in the realm of marketing. In the subsequent
modules, we would also talk about the social media and networking platforms in the context of
advertisement and entertainments. Contrary to the popular conception, social media is not only helpful in
staying connected with people, but it is also a low-cost information exchange platform for all, including
businesses and organisations to market, to advertise and to circulate. Over recent years, social media
has been recognised as a vital marketing factor guiding the success of a product or a service or a
business. In 2013, McGowan & Durkin had claimed that as early as the early 1990s, people had begun
forming opinions that the internet would become the next futuristic tool of relationship marketing in the
digital era which was only emerging at that time. While social media marketing has undoubtedly evolved
into a substantial concept, it remains interconnected within the broader framework of digital marketing.
Before we explore further into the details of SMM, let us first look at a brief overview of digital marketing
as a whole. Digital marketing refers to the use of digital channels and platforms to promote products,
services or brands, etc. to our target audience. This approach leverages the internet and electronic
devices such as computers, smartphones and tablets, etc., to reach the potential customers. Digital
marketing allows businesses to engage with their audience in a more personalised and interactive
manner, enabling them to measure and analyse the effectiveness of their campaigns in real time. The
evolution of digital marketing, of course, relies on the advancements of digital communication and
distribution channels and therefore, it keeps on changing and evolving in a very fast manner. There are
many types of digital marketing tools that businesses can leverage to increase their reach towards the
audience. We can refer to content marketing which involves creating and sharing valuable and relevant
and also consistent content to attract and retain a clearly defined audience. The search engine
optimisation or SEO is the process of optimising your websites to rank higher in search engine results for
specific keywords and phrases. Search engine marketing or pay-per-click involves placing ads on search
engine results pages and paying each time someone clicks on your ad. Social media marketing involves
using social media platforms to promote brands, products, businesses and other services, etc. Email
marketing allows sending commercial messages to a group of people via email. Influential marketing
involves partnering with influential people on social media to promote different brands, products or
services, etc. Besides these affiliate marketing mediums, we can also refer to mobile marketing and video
marketing which are included in the realm of digital marketing. Let us look further into the details of social
media marketing. With the advent of technology and digital communication with customers, traditional
methods of approaching is now almost immobilised. We are banking more and more on the digital
mediums now. The 1990s had witnessed the rise of email as a pioneering digital platform for direct
communication with people which had enabled an immediacy and also a swift responsiveness to
customer feedback in our communication. Over the last decades, the exponential growth of social media
has introduced a paradigm shifting opportunities in the sphere of digital marketing and this trajectory has
given rise to a transformative landscape where social media marketing has emerged as a predominant
conduit for brands and enterprises to exhibit their range of products and services in a strategic manner.
Therefore, social media marketing has become crucial for modern marketing strategies as it is now more
feasible to aid businesses for building brand awareness, engaging with audiences and keep updated with
other competitors in the market. SMM or social media marketing is a business of product service of social
media channels in order to understand targeted customers and engage them in such a way that leads to
the achievement of ultimate marketing and business goals. It also involves creating engaging content,
interacting with audiences regularly and measuring campaign effectiveness using AI as well as data
analytics. There are various forms of social media platforms which have been illustrated in the figure here
such as blogs, chat rooms, social networking sites, podcasts, etc. which are commonly used for managing
an engaged traffic to websites. Social media marketing is a subsequent step that takes place after social
media optimization. This process involves refining and enhancing one's online presence on various social
media platforms. Social media optimization primarily focuses on fine-tuning profiles, content and
strategies to make them more appealing, user-friendly and effective. The rationale behind utilizing social
media for marketing stems from the substantial user basic commands coupled with its vast and diverse
audience. And that is why we see that nowadays several smartphones and tablets come pre-installed with
various social media platforms like Facebook, Instagram or WhatsApp. And this makes social media an
entry point to the internet for several people around the globe. Marketers also flock towards social media
as it provides a sense of personalization and provides a direct contact that customers can experience with
different brands on social media platforms. Let us look briefly at the advantages of social media
marketing. If approached correctly, it helps in building brand awareness, finding new customers and help
conduct brand intelligence in market research. We can easily see that social media marketing is a key
element for success in marketing and many marketers realize the potentials for business growth using the
platforms. The communication in social networks get shoppers to listen to one another, review ratings for
products and services and provide product knowledge and personal information. However, some of the
professionals are not sure of which tactics to apply and which tactics are going to be effective. Surveys
tell us that about 96% marketers are currently participating in social media marketing. However, 85%
participants are not sure which tools are the best to use for their own purposes. And therefore, later in this
module, we shall also discuss some AI based tools also which can be helpful in this direction. We can say
that in the context of increased brand awareness, social media is one of the most cost-effective digital
marketing methods. It can be used to syndicate content in order to increase the visibility of a brand. To get
started, we have to create social media profiles in business category and begin interacting with others.
We can get employees, business partners and sponsors to like and share the social media pages. When
people interact with the content through any social media site, it increases their awareness towards a
particular brand and they can also be treated as potential customers by the marketers. By consistently
investing a few hours per week or regularly sometime in using these strategies, over 91% of marketers
have claimed that their social marketing efforts have greatly increased their exposure. We have already
talked about the cost effectiveness of the social media marketing. We see that signing up and creating a
profile in almost all social networking profiles is free. And any paid promotions we decide to invest in are
relatively low cost as compared to other more conventional marketing tactics. We have already referred to
Demer who had written in 2014 that as little as 6 hours per week are efficient to generate increased traffic
on a particular website. And therefore, we find that social media marketing is one of the most cost-
effective marketing strategies, as signing up and creating a profile is free in almost all social networking
platforms. And even if have to pay for promotions, we find that it is relatively low cost in comparison to
more conventional marketing tactics. There are several other advantages also. As social media is
primarily a networking and communication platform, it provides the customers a better satisfaction as they
have a feeling of directly interacting with somebody. Creating a voice through our presence on social
media also humanizes the company and customers always appreciate that when they post comments on
our pages, they receive a personalized responses every time. That shows us the significance of being
able to acknowledge each comment as it demonstrates the attentiveness of a brand or the company
employees to the needs of its visitors and a commitment to delivering the best possible experience. Such
a strategy is great, positive impressions among customers and foster a sense of trust and loyalty. By
actively listening and responding to feedback, brands can gain valuable insights as well as simultaneously
can address the concerns of the customers. Brand loyalty has always been considered as one of the most
positive aspects of the branding. As it helps us in retaining our conventional customer base as well as
through them, we are able to attract the new customers also. Considering this fact, we find that customer
satisfaction and brand loyalty go hand in hand and therefore it is important to regularly engage with
customers and begin developing a bond with them. Whereas traditionally we used to depend on individual
interactions or printed material which could be sent by post, social media marketing has given us several
channels which are easily available to us. These channels enable us to communicate directly with the
stakeholders. The same channels which help us in improving brand loyalty also help us in providing a
thought leadership and through the posting of insightful and well written content on social media, we find
that a particular brand or a particular service can also become an expert in their field. In this context, there
are mainly two strategies that we shall look at. First, through social media campaigning and second,
advertising for marketing strategies on social media platforms. It is essential to recognize that effective
marketing involves the dissemination of valuable content to a relevant audience. Simply posting on social
media does not constitute marketing. Employing well-defined strategies is therefore crucial to ensure that
the content we are sharing aligns with the business objectives and effectively reaches the target
audience. Let us look at a short video by the CEO of Jaxx productions, Marley Jaxx in this connection. So,
you know who you're trying to speak to but you're not sure how to reach them online. Don't panic, in
today's video we're talking about how to reach your target audience on social media. So, let's talk about
the difference between a target market and a target audience. The target market is the whole group of
people that a brand may want to sell to. The target audience is a particular group of individuals within that
market that the company expects to sell to. For example, my target market may be entrepreneurs, but my
target audience is a subsection within that market. A specific type of entrepreneur. An entrepreneur that
sells their products or services online. Now when you know the difference between your target market and
your target audience, these are gonna give you some clues to where you can reach them online through
the various social media platforms that we have access to. For example, if your niche is professionals,
maybe your audience is on LinkedIn. If your niche is fitness or maybe food, your audience may be on
Pinterest. If your niche is photographers or artists, your audience may be on Instagram. Marley Jaxx has
clearly differentiated between a target market and a target audience. She has also emphasized the
importance of identifying the specific group within the market to tailor content. Now let us explore the
nuances of Instagram marketing as this platform also attracts a diverse range of audiences. The purpose
of Instagram marketing is also to enhance brand awareness, engage creatively with the audience,
generate leads and drive sales for businesses. It requires a tailored approach due to the unique nature of
Instagram compared to other social media sites. Instagram is a powerful tool to connect with a large
audience, to increase the visibility of a brand and to boost sales. To succeed in Instagram marketing,
businesses can employ various strategies including using hashtags, stories and highlights to engage with
users. The goal is to create a strong online presence to foster a community and drive customer
engagement. This slide sums up the Instagram marketing strategy telling us almost in a step-by-step way
how to go into it and how to get the maximum benefit out of it. For example, we can use a business profile
for advanced features like Instagram insights and promoted posts. We should also be able to optimize
with our business name, explanation of offerings and keywords. The single clickable links in your bio
should also be used effectively and we should also incorporate relevant keywords and hashtags in the bio
for better connection with the audience. We can also include a clear call to action to drive further
engagement and leverage Instagram stories to engage followers through product promotion, community
building, takeovers and pools. We should also understand the evolving Instagram marketing landscape for
the growth and engagement of our business. Maintaining a visually appealing Instagram feed by using
consistent colors, lightening and content spacing etc. is important. We should also be able to use a mix of
videos, photographs and carousel posts to keep the feed as dynamic as possible. Social media marketing
triggers viral communications amongst consumers across different online communities, brand and fan
pages and promotion related content which is generated by the companies or organizations on different
popular networking sites. Each platform of social media, for example, Twitter or Facebook or Instagram
have their own place in a marketing campaign depending on the place the customers are located in. Also,
how are we able to link the strategy of the company sales with the location as well as the requirements of
different customers? The idea of SMM is to build brand loyalty to create new audiences and reinforce
existing customer bases. In this context, there is no single secret to success of any social media
campaign. They may come in a range of forms and of course, we cannot foresee which particular
campaign will go viral. We discuss here some examples of campaigns that have done really well online.
The first example we are citing is that of the Old Spice video campaign. The Old Spice brand successfully
revitalized its image through an iconic social media marketing campaign that targeted a younger
demographic. Before this campaign, Old Spice was associated with an older audience, but they shifted
their focus to consumers aged 18 to 34. The transformation of Old Spice from a brand for older men to
younger and more modern men was highlighted in a case study recently. The campaign effectively
branded social media engagement and consumer interaction. Often hailed as a prime example of
successful social media marketing, we can learn several lessons from the Old Spice campaign. For
example, the importance of creating content rather than just traditionally advertising and using influencers
to reach a wider audience. The success of this campaign was recognized by Forbes as one of the best
ever social media campaigns. Its influence also extended to YouTube where it became a viral sensation
and the campaign has been praised for its creativity and the range of its impact. Let us look at another
remarkable case study of social media campaign. I would refer in detail to the social media campaign of
the Getty Museum which is located in Los Angeles, USA.Their #gettymuseumchallenge was initially
inspired by the Instagram users. During the COVID situation, the J. Paul Getty Museum found a way to
engage and promote their artwork and educational services from their physical location to online. And this
ultimately resulted in involving people in a very healthy manner. It encouraged participants to use their
favorite works of art as inspiration to create their own versions. The Getty staff wanted to increase the
online presence of the museum by focusing on social media initiatives that created conversations or
garnered participation from their audience. The museum was able to achieve their goal by focusing their
efforts through their social media campaign, bringing the community together with this entertaining and
imaginative challenge. They utilized their vast digital art gallery through promoting campaigns and
increased awareness to the richness of their gallery and museum. On 25 March 2020, that was the height
of the COVID wave the world over, the Getty Museum announced their version of the quarantine art
challenge through their Twitter, Instagram and Facebook pages. The format of the post were all identical
and laid out a few simple rules and they were choose your favorite artwork, find three things lying around
the house, recreate the artwork and share it with the museum. Participants were instructed to visit the
Getty's virtual archive of artwork and choose from their favorite artists to replicate their work. The
simplicity of the challenge rules combined with the endless possibilities for replication made this an
appealing activity for people who were stuck at home and were rather intimidated by the circumstances to
participate in it. Because of the pandemic situation in lockdowns, there was a high degree of user
engagement with this particular challenge and it brought traffic to the museum's website. It also
encouraged followers to share their recreations. The next three slides present detailed data in this
context which tells us the significance of social media marketing. The Getty has over 1.3 million followers
on Twitter. The tweet that had first introduced the challenge received the most engagement of the entire
campaign and the figures are mentioned here. The Twitter threads were used to stack user generated
content onto their introductory tweet extending the value of the tweet after it was published. On most
tweets, the Getty also included links to their digital art collection so followers could view the original
artworks that the content was inspired by. An image of it has also been given here. Even though Getty
posted less on Instagram in comparison to other social media platforms, we find that it had received the
most consistent engagement on Instagram. There is a significant amount of user generated content which
we can find on Instagram even though the Getty team did not interact with followers as directly on
Instagram as they had done on several other platforms. While there are a few hashtags associated with
this challenge, the initial hashtag at Getty Museum Challenge alone had been used more than 51,000
times by users who have posted their own recreations of the social media platforms. The third image on
this slide illustrates it. Interestingly we find that in comparison to Twitter and Instagram, Facebook
received the least amount of campaign engagement with under 30,000 hits overall as calculated by
collected data. The figure no. 4 here details the decrease in engagement since the initial post in March.
Followers were able to directly reply to the Getty's Facebook posts with their artistic recreations through
the comment section. This allowed users to engage directly with the staff of the Getty Museum and
showcase their recreations to a broader public audience. The museum then began compiling some of the
user generated content sent to them in a digital album for public viewing. The Facebook album was
sporadically updated with additional photos and acted as official posts reiterating the challenge throughout
the months. From this example we learn that social media marketing requires multi-platform engagements
simultaneously. But sometimes creating content for different social media platforms and sharing content
becomes rather challenging. Further marketers need to ensure that they reach daily targets and are
always on schedule with their posts. Using a social media automation tool makes it easier. The social
media automation tools offer features like scheduling posts, analytics and social listening ultimately
reducing the manual effort required to manage multiple social media accounts. And therefore, it allows us
to stream the management of the whole process. The three most popular social media automation tools
are SocialPilot, Oktopost and Publer, that provide multiple ways to automate our social media posts
including the timings of the posting whether we can post immediately or can schedule it in some future.
Among these three, Octopost has recently integrated AI for enhanced capabilities. At this stage, let us
look at a short video about how to use automated social media tool step by step on Publar. After watching
this video, you'll be able to automate your posts on social media. When you post any content in the tool, it
will automatically be posted on all the social media accounts. So let's get started. I'm Bryan from website
learners, and let's see how you can automate your posts on social media. Now to automate your posts,
we are going to do two steps The first step is to create an account on Publar. So to create an account,
click the link below this video, and it will take you to the Publar homepage. This is the tool which we are
going to use to automate our posts. Now click here. Here you can enter these details to create your
account, or you can sign up with one of these options. I'm going to use my Google account. So let's click
Google. Then select your account, which you are using for your social media. As you can see, we have
successfully created our account. Once you have created your account, we can go to step two, which is to
add our social media accounts to Publar. So, to add them, let's click add account and then select the
social media account, which you want to add. I'm going to select Facebook. Now to add your Facebook
account, you need to have a business page on Facebook. So if you don't have a business page, you can
watch this video and create one. Now click on page and enter your Facebook password here.Then click
continue. And again, click continue. Here you will find all the pages on your Facebook account. Now
select a page and click next. Now select your Facebook account. And then click go to accounts. You can
see that our Facebook account has been added. In the same way, you can add other social media
accounts here. Now, if you want to add Instagram, you must have a business account on Instagram, and
it should be linked with the same Facebook account. Only then you will be able to add your Instagram
account here. Okay. Once you have done adding the social media accounts, next, let's create a post on
Publar. So to create a post, let's click create and select the accounts in which you want to automate your
posts. I'm going to select these accounts. Once you select them, you can write something about your post
here. If you want, you can also give a hashtag. I'm going to enter hashtag trekking. Now to add an image,
just drag the image from your computer and drop it here. As you can see, the image has been added. So
now we have created the post. Now if we click post, your post will be immediately published on all these
accounts. Now instead of posting it immediately, if you want to schedule your post, you can do that by
going here. So, if we click schedule, you can see that we have these options to schedule our post. You
can select any of these options to schedule your post. I'm going to select manually. And here you can
schedule the date and time to publish your post. Once you have done that, if you click schedule, this post
will be published on the schedule date and time. Okay. Now, as I'm going to publish the post immediately,
let's click cancel and click post. Now our posts will be published on all our social media accounts. So, to
check that, let's go to our Facebook account. Here you can see that our post has been published. Now, if
we go to our Twitter account, you can see our post. And it will also be posted on our Instagram account.
Okay. So that's it guys. This is how you can automate your posts on social media. The video
demonstrates the process in two steps. First, creating an account on Publr and then adding social media
accounts such as Facebook and Instagram. The video also shows how to create a post, how to add text,
hashtags and images, and then schedule it for a particular time release. Most of the social media
automation tools provide almost similar benefits to their users. The next slide mentions the takeaway
points of the video in brief. This particular slide illustrates only Publr on the basis of the video we have
looked at. But if we look at other similar automation tools which are available to us, we find that almost
similar benefits are provided to the users. The idea of illustrating this particular example from one of the
automation tool was to underscore the fact that whether an individual has an online or offline business,
leveraging every available social media platform for effective campaigning is essential nowadays and
automation tools can be helpful in this regard. At this stage, I would discuss how an effective social media
campaign can be launched. To illustrate it, we are taking the help of a short video. If you want to succeed
online with social media marketing, you don't just randomly post your content on Facebook or Instagram
and hope for the best. You create a campaign. Similar to how ad agencies create commercials that air on
televisions and radio networks, social media campaigns are planned and integrated efforts to reach and
communicate to your audience. Initially, social media was an add-on to support large campaigns. But with
our attention being redirected to smaller screens, brands and businesses are turning to create social
media only campaigns. According to social media marketer, more than 90% of marketers have stated that
social media only campaigns have increased brand awareness. So how do we manage to create a smart
social media campaign without running into a few hiccups and problems along the way? In today's video,
we're going to talk about how you can plan your campaigns and avoid commonly made mistakes by
different marketers. Here are the different elements of a smart and comprehensive social media
campaign. Number one, the audience. Contrary to popular belief, just spreading your message to a broad
audience is not effective. Social media marketing is more effective when you specifically target your
audience. In this case, you should segment your audiences depending on each campaign. No campaign
message will appeal to all types of audiences. Tailor fit your message to your intended target market. To
begin your campaign, first identify who you want to talk to and how much you intend to invest to talk to
them. Number two, the message. Your message reflects the ultimate goal of your campaign. Clearly, it
reflects the core of your campaigns so that you'll know how each post, tweet, photo, or video weaves
seamlessly to talk to your target group. Number three, the date. Planning when a campaign launches is
an important factor in hitting your key consumption period. This is the sweet spot of the year where your
product or brand is highly relevant and can deliver the highest sales. In short, plot your campaigns into
your company or product lifespan. Number four, the platform. Where you're active plays a big role in
planning for your campaigns. Focusing on one or two platforms allows you to design and create materials
that is specific to the channel you chose. Using more platforms pays a lot in terms of reach and frequency,
but it can require more money and thought. To be smarter, look at where your audience is most present
and then build up your footprint there. Number five, the reason. What's your why? Don't just create
messages and post them at your leisure. They should be relevant and valuable to your audience. The key
is delivering your consumers reason to believe in your campaign message. Drive this relevance by
identifying and answering the question of why your audience should care about you. At the same time,
play into how you'll send that reason out. Smart campaigns are consistent in delivering their messages
through effective use of content. This video explains that unlike random postings, campaigns are strategic
efforts to engage and communicate with the target audience. The key elements of a successful campaign
include audience segmentation, crafting a clear message, and timing the launch. It also involves selecting
the appropriate platform and providing a meaningful reason for the audience of that particular platform to
engage. The next slide summarizes these points. We can look at the points which are significant for us for
any type of social media marketing. We understand that they are vital nowadays and they incorporate
audience segmentation, creating a clear-cut campaign message, selecting a proper launching time, the
selection of a careful platform so that the audience can be given a compelling reason for their
engagement and consistency in the posting of our messages. Several AI-powered tools have emerged in
the field of social media marketing, offering innovative solutions to streamline processes and enhance the
effectiveness of the campaign. Let us look at some AI-powered social media marketing tools which are
available and can further automate the process. One of the AI-powered social media marketing software
is Okoya, which is designed to cater to the needs of social media marketers and business owners. It
streamlines the execution of marketing campaigns across multiple media platforms simultaneously. This
platform caters to a wide range of needs. Whether it is about scheduling the post across multiple channels
of media or enhancing return on investment through refined targeting, precise ad placement and insightful
performance reports. Users can easily create visually captivating content with the help of the library of
templates, graphics and music, etc. tailored to various niches. Another AI-powered social media
marketing tool which is popular nowadays is Predis.ai. It uses AI to generate complete ready-to-publish
social media posts, including creatives, captions and hashtags based on a short description or one-liner
about the business. It also provides detailed analytics and reporting features that allow businesses to
track their performance on social media platforms, measure engagement and identify areas for
improvement. This particular tool provides competitor analysis tools also that allow businesses to analyze
their competitors' social media strategies and identify opportunities to improve their own ones. From brand
storytelling to new commerce opportunities, AI-powered social platforms offer small as well as big brands
an unmissable opportunity to reach and engage consumers. Let us look at some of the examples of big
brands and their marketing strategies of using social media networks. For example, IBM owns more than
100 different blogs, a dozen islands in the virtual world of Second Life, several official Twitter accounts
and a popular forum called Developer Works. It also publishes a machinima series on YouTube and
several employees upload presentations to the media sharing site SlideShare. Dell has also tapped the
power of social media with its hugely popular IdeaStorm websites, where users add ideas for new product
lines and enhancements, vote them up or down and comment on their submissions. Starbucks has also
started to use this model to some success with its My Starbucks Idea site. However, sometimes the
content can lead us into trouble, as is illustrated by a 2008 commercial released by Mortin. This
commercial had offered its product as a solution to the pain women experience when they carry their
babies in harnesses attached to their torsos. However, only a day later, we find that it became one of the
most discussed topics on Twitter and it was by and large being discussed by mothers who were going
through this phase. These mothers made critical videos and blog posts and called for a boycott of Martin
and eventually the company had to apologize and withdraw this commercial. We can say that social
media is a great equalizer. Big brands can be outsmarted without making huge investments and small
brands can also make their presence felt. In the context of small businesses, we can refer to the
experiences of a relatively unknown company, Blendtec, which was selling only $400 high performance
blenders. After seeing the CEO testing the machines by blending 2/4s, the marketing director, George
Wright, had the idea for the creation of a series of viral videos. And he started to blend everyday objects,
glow sticks, iPhones, Rubik's cubes and television remote controls and posted the videos to media
sharing sites such as YouTube. The videos soon became popular and also added to the popularity of this
brand, often resulting into sales. We can cite another example by referring to the marketing strategy used
by a small specialty baker in New Jersey known as Pink Cake Box. The comprehensive approach of Pink
Cake Box to social media has amplified their brand visibility, establishing them as a front runner in the
world of specialty baked goods. We can conclude by saying that the dynamic field of social media
marketing is now growing bigger every day. It is also creating and encompassing new roles and positions
in job markets that collectively contribute to the creation, execution and optimization of compelling online
campaigns. Diverse roles in social media marketing, including social media managers, strategists,
analysts and advertising specialists are offering exciting opportunities for professionals to work with
engaging content. Top hiring companies including Accenture, Amazon, Dell, Freelancer.com, etc. offer
promising salaries and roles for these purposes. Successful social media marketing also requires
excellent communication skills, a strong presence on social media platforms and a passion for marketing.
Use of social media as we know for marketing purposes at all levels of business is a must.

Advertising Startigies and Marketing skills

oday we will look at the concept of advertising and the intricacies of advertisement campaigns as well as
examine how they synergize with social media marketing efforts to achieve overarching goals advertising
remains a primary component of a Brand's promotion mix which is used to inform and or persuade Target
audiences about their products the American Marketing Association has defined advertising as the
placement of announcements and persuasive messages in time or space purchased in any form of the
mass media in 2009 kin Hartley and rilis commend that advertising is like a group of friends that include s
personal selling public relations sales promotions and direct marketing these friends according to them
work together to help a company communicate about their products or Services they use methods that the
company pays for to talk about what they want to offer this could be through advertisements talking to
customers directly giving special deals or direct reaching out to customers Etc owing to the developments
in digital communication the advertising landscape has changed dramatically in recent years after the
linking of the web with net space the first commercial internet browser and its adoption as a
communication Channel advertising landscape grew faster than ever besides the advertising industry has
always followed the consumers and now with the change of habits in communication after the introduction
of the digital mediums the advertising industry has started to follow the consumers online especially on
social media platforms while developing new forms of advertising to relate to consumers in their virtual
presence it was in the 1990s that the the rise of the internet brought about online banners and payperclick
ads while subsequent decades saw the emergence of social media advertising mobile optimization
programmatic advertisement platforms and datadriven personalization patterns of digital and traditional
media ad spending is traced in a recent us study which has tracked the data between 2018 to 2022 as
shown in the figure on the right hand side of the slide data of the year 2018 state that difference between
digital and traditional media ad spending is only 3 billion that means that the money is spent on digital
advertising is expected to continue to increase further and maybe would be able to exceed is spending on
traditional media advertising pattern this shift can be attributed to several factors including the increasing
prevalence of online platforms the proliferation of mobile devices and the ability of digital advertising to
offer targeted and measurable campaigns let us look at a short video at this stage to understand why big
as well as the small brands are opting for digital advertising and why is spending resources on digital
advertisements proves to be a beneficial strategy for Effective marketing hello I'd like you to meet two
independent restaurant owners oi and sad they're both very passionate about serving high quality and
made from scratch food their restaurants are in good locations and they operate in the same local market
but from few days oi and sad are concerned about their restaurants and the reason is besides offering a
very delicious food they are unable to generate good sales and their profits are going down day by day so
they consulted with some experts and they reached that conclusion that they need to Market their
restaurants to together people's attention and increase awareness among customers but that's where the
similarity ends oi decided to hire a couple of salese printed brochures and flyers he advertised in the local
newspaper and within a few weeks Sly started seeing sales at a lot of local customers oi was excited but
he had very high overheads and very low profit margins but he decided to wait a couple of years to see
some growth s on the other hand decided to Market his restaurant digitally he approached the reputable
digital marketing company and Outsource all his online marketing to them they came up with the strategy
to create an online presence they developed a NIC looking website worked on creating unique and quality
content Implement SEO strategies and also build awareness using social media platforms within 2 weeks
sod started seeing sales and a lot of customers from all over the city sod was happy since he had very
low overheads and very high profit margins in a few years saw Diversified and opened another restaurant
a couple of years later all he realizes his mistakes and he also hired a digital marketing company
traditional marketing can only get you so far think local but to act Global this video highlights the potency
of digital marketing over traditional methods in terms of its reach to the wider audience as well as
achieving higher profit margins narrating the contrasting experiences of two Resturant owners o and sad
who are facing declining sales despite offering quality food while while o has opted for traditional methods
we find that set's approach includes creating an online presence quality content SEO and social media
engagement leading to a rapid success and expansion in comparison to the other restaurant owner the
video underscores that while traditional methods may still have their place digital marketing provides a
broader reach engagement and greater business Acumen in today's digitally interconnected world all
business activities nowadays use social media platforms for advertisements including for example the
promotion of books let us look at the effectiveness of digital advertisement campaigns by citing a recent
example of a science fiction which has been published in August 2023 with the title Vega the Galactic
Warrior this recently launched science fiction authored by Prada gar is being actively promoted by the
author as well as by the publisher across a range of social media Avenues and this effort has led to a
substantial audience engagement within a short span of 15 days on platforms like Instagram the novel
had already garnered over 12,000 likes while on Facebook it has received more than 4,000 likes
accompanied by enthusiastic readers comments and shares leading to a strong curiosity among audience
social media offers authors and Publishers the opportunity to engage with a white and diverse audience
build a community of readers and create a vibrant sensation around their books the author of the science
fiction Vega is interacting directly with followers responding to their queries providing additional
information and thus fostering a sense of community this personalized engagement has contributed to
building trust and ultimately has been successful in driving sales also overall these engagements Have
Been instrumental in expanding the books online presence thus optimizing its accessibility for purchase
across Ross various e-commerce platforms also such immediate popularity is a result of online social
media tools which are efficiently used in this case it would perhaps have not been possible in any
conventional media campaign however in this context some experts also suggest a combination of the old
and the new methods and we here refer to Kenji goers an expert of consumer product and marketing
strategy in a recent research go has indicated that traditional media can also be efficient when evaluated
for recall and reach he has also present an in-depth analysis of cost and reach which reveals that the
range of traditional media can reach about 60% of the consumers while digital media tends to play you at
about 30% only to a some extent it also depends on the nature of the product also despite potentially
cheaper cost per impression for digital media traditional media also posts a higher return on investment or
Roi go has suggested that a combination of traditional and digital platforms would perhaps yield more
power than using either in absolute isolation for prominent Brands traditional media remains crucial for
their appeal Andre while smaller Brands might begin with cost effective digital media and later integrate
traditional methods also for an increased reach when we talk about advertisement as a strategic
communication for intimately reaching out to Consumers and the broader audience we should also be
aware of the differences between public relations and advertising the two are often used synonymously
however while advertising is a non-personal that is one way communication to sell a product or service
public relations consist of a two-way Communications seeking to build relationships and Trust the figure
on the next slide summarizes is the main differences between the two so we can say that organizations
and groups may use one or both of these pursuasion techniques in their marketing mix whereas the goal
remains perhaps the same the strategies are rather different whatever strategies we adopt in the realm of
digital advertising it is of Paramount significance to identify and Target a precise order audence a
particular concept which I would like to introduce in this context is known as narrowcasting narrow casting
is an effective communication tool for displaying media content or information on digital screens aimed at
a narrow and limited audience it does not reach Mass audience we can see it rather as having our own
personal television channel Channel or any social media platform which is exclusively sharing only with a
select group of viewers it can thus be viewed as the opposite of broadcasting which usually aims for the
widest possible audience in the field of advertising narrowcasting prioritizes targeting the right
demographic or psychographic audience overreaching a large number of viewers trop and liberman have
suggested that it affords more privacy and a reduced psychological distance between the interaction
Partners investing in those advertisements which Target only specific audience members may be more
cost effective than advertising to a broader audience as we do in the context of broadcasting the major
differences between the two are also Illustrated in the figure on the left hand side of this slide with the help
of digital communication tools ideas like buying an at on many social networking sites simultaneously has
become quite easy as we have discussed earlier in the context of narrow casting ads can be targeted to
very specific audiences based on interests demographics user behaviors or even as seen in this housing
head geographic location executing it on our favorite social medium is also not very difficult two examples
of such sites include Zillow and house therefore we see how narrow cast works much more effectively
than they could offline or in traditional media only now let us look at how advertising in virtually created
worlds actually works whichever social media we are using ads are inescapable advertisers seek to buy
sports wherever their Market is whether it is through email or whether it is within a video game site and
since digital ads can be quickly addited or targeted to the viewers of the audience we look at ads which
are more personalized to Us online than in traditional mass media Virtual Worlds also present new
channels and opportunities for advertising from open worlds like second life and sansar to video games
like Need for Speed Etc Virtual Worlds present advertisers new audiences and placements for advertising
their content advertising in Virtual Worlds also has several benefits firstly ads do not need to be repetitive
or intrusive as they are not interruptive in the same way in which they are in conventional videos we find
that audiences do not normally become Awards to them at the same time the more diversity of
advertisements also does not distract players and it can help advertisers get past perceptual filters to
reach out to audiences in new spaces the inclusion of varied advertisements that seamlessly integrate
without distracting players can facilitate advertisers in circumventing perceptual filters allowing them to
effectively engage audiences in these Innovative environments a second benefit to embedding the
advertising is that many users do not mind and may even appreciate the game play more players can also
also react negatively if the advertisement of product placements does not fit with the tone or theme of the
game for example a Mountain Dew advertisements in world of warcraft's fantasy world or azorath which
had to be either taken down or replaced a third benefit is the cost Effectiveness as EDS are entirely
digital they are relatively cheap to update substitute or modify this suggest that digital advertisements can
be updated much more than the offline advertisements such unique novelty of subtle online ads can
significantly Aid advertisers in promoting their products more efficiently for example digital advertisements
may not only promote a television program but can also be updated every seven days to reflect that
week's specific episode ads can also be customized and tailored to a specific group of players for a
particular video game however we also have to assess a new challenge which is both ethical and
procedural in advertising via CMC and it is the increased blurring of boundaries between advertising and
other forms of communication sometimes it can be increasingly difficult to identify an advertisement amid
other media one of the most evident of these boundary blurs is known as adver games that is
advertisements in the form of games adver games may be as simple as changing the protagonist to this
advertised product as Coca-Cola had done for its papsi Invaders game it was like Space Invaders but
with a Coke can fending of invading can of the competitor that is papsi ADV games can also simply
include the product in the sidebar or frame of another game also at the same time they can also include
more direct and involved incorporation of the brand into the game itself such as when Dorito chips created
the Dorito VR battle game in which players compete in a virtual world to collect Doritos it reminds us of the
Pokemon craze among children during the mid 1990s but it is much more complex and reachable owing
to the digital forms of communication advoc games also provide a means for Brands to have customers
interact with them at the same time they provide exposure to the brand without explicitly asking
consumers to buy a product or a particular service the challenge of stacking your rice krispy streets Ste
belies the fact that one is spending a lot of time engaging with the brand allbe it through the snap crackle
and pop of an online Gap we find that digital advertisement through video games is growing day by day
advertisement in other social media platforms is also becoming more and more popular and proving to be
much more effective sites like Google Amazon and Facebook are nowadays dominating the digital Market
space they dominate over 60% of All Digital advertisings spend on the internet and generate Revenue in
great numbers and this idea is called social media advertising so social media advertising is a specific
form of digital marketing where businesses utilize paid media to promote OTE their products or services
with the help of various social media platforms such as Facebook Twitter Instagram LinkedIn Etc this
strategy involves creating paid advertisements that Target a specific audiences based on their interests
and demographics it is also considered to be one of the most effective advertising methods due to its
ability to reach a large and diverse audience social media advertising involves crafting engaging content
interacting with followers and running paid advertisements on platform this strategy aims to increase
brand awareness Drive website traffic and also to generate leads social media advertising can be defined
as capturing all forms of advertising whether explicit that is Banner advertising and Commercial videos or
implicit that is fan pages or firm related tweets that are delivered through social networking sites or social
media platforms earlier in this module we had talked about the narrow casting strategy we will discuss two
more strategies which are known as filter Bubbles and eoch Chambers they are generally used in order to
manipulate the information that people receive receive online influenced by algorithms user behavior and
societal Dynamics in social media filter bubbles in eoch Chambers are Concepts that relate to how
information is filtered and personalized on the internet particularly with the help of social media platforms
filter bubbles are created by algorithms that track users online behaviors such as the content they click on
and then present them with content that aligns with their existing preferences and perspectives this is
what was previously known as cognitive dissonance and it can lead the individuals being exposed to a
very limited range of information that reinforces only their existing beliefs and this concept is known as an
Eco chamber we Eco our thoughts only only our thought patterns and platforms like Google use
algorithms to selectively present information to users based on their past Behavior their click Behavior
browsing history search history as well as location this can create a filter bubble where users only see
information which confirms their existing beliefs and does not expose them to contrary viewpoints the
following video discusses these Concepts in connection with Facebook and Twitterparticularly it's human
nature we surround ourselves with people we agree with and the internet has only made it easier for many
Twitter is a place to have existing views reinforced often without realizing it a lot of us choose to live in an
echo chamber a place where it can seem like everyone on Earth is just like us and Facebook well
Facebook takes it even further of course you can hide those posts from your goofy a but Facebook
actually does a lot of that work for you behind the scenes it knows what you like and what you comment
on what brands you follow what ads grab your attention events you're attending and Publications you read
Facebook uses all that data to feed its algorithms and those algorithms choose what you see and if you
know where to look you can actually see what Facebook thinks you like your interests your hobbies and
even your political views use the result is what's become known as the filter bubble where your timeline is
filled with opinions you share Facebook actually makes money off knowing those things they sell you and
your filtered bubble to advertisers those advertisers will pay more to get their products in front of people
that are likely to buy them and if you're seeing things you like you'll spend more time on Facebook seeing
more ads and making the company more money but does the bubble keep us well informed it's a tough
question to answer especially while the technology is still changing so fast but one thing's for sure that
technology has the power to make us more connected or more isolated thanever we can see that in the
world of social media filter bubbles are formed as people naturally gravitate towards like-minded
individuals a tendency which has been Amplified by the internet and the imacy of its reach Facebook in
particular takes active steps to curate users content based on their interactions likes comments and
interests ultimately creating the filter bubbles this bubble surrounds users with content that aligns with
their preferences thereby influencing their perception of the world and molding it towards a pre-cut Groove
only while the impact of these filter bubbles is complex and continually evolving they have significant
implications for both connectivity as well as isolation in our digitally connected world so how these
concepts are used in social media marketing and advertising they pertain to the potential limitation of
exposure to diverse perspectives due to algorithm driven content curation an eam number is one which
obviously equal our already existing viewpoints as the term suggests an eoch chamber merely EOS our
existing information and viewpoints and exposes us to only that type of information filter bubbles are
created by algorithms that track the user interactions and show content which is similar to what we have
been previously engaged in It ultimately leads to a narrowing down of information sources and these
Concepts can impact social media marketing strategies in several ways marketers can use behavioral
targeting to create filter bubbles by analyzing users online Behavior to deliver personalized ads this can
further reinforce users existing beliefs and limit their exposure to diverse perspectives to break through
the filter bubble marketers can also diversify the sources of traffic to their websites and this can be done
through guest blogging collaborating with other websites or influencers and also using paid advertising
campaign to reach a wider audience an essential element therefore in the field of marketing using the
digital communication mediums is selecting the appropriate at type which can be aligned with the goals of
the companies during the campaign setup advertisers possess the option to choose from an area of
platforms under the purview of meta which is formerly Facebook including Facebook Instagram
messenger and whatsa Etc this expensive scope facilitates engagement with the diverse spectrum of
potential customers moreover Facebook equips advertisers with tools to refine Target audiences through
intricate interests and recommended preferences in the previous lecture we had discussed campaigning
through post and pictures here we will focus on advertisement and video campaigning advertisers
effectively use the dynamic landscape of video campaigning within the sphere of advertising the primary
purpose of video campaigns is to capture the attention of potential customers by delivering messages
through Visual as well as auditory means it involves creating short and informative videos to promote
products or services and these videos are played before during or after other video content the viewers
are looking at and help tell his story improve sales volume create Buzz convey information concisely and
may reach a wider audience they can also be showcased simultaneously on various platforms including
YouTube and webites that are part of Google's video partner Network online video advertising is an
effective way to reach audiences and therefore it remains popular in the digital marketing landscape as
videos can evoke emotions and convey messages more effectively in comparison to other forms of
content they can immediately connect with audience at a much more personal level video campaigns also
enable Brands to measure their performance through metrics like views clicks and sale conversions from
Facebook and Instagram to Twitter LinkedIn Tik Tok YouTube Etc social media platforms have integrated
video campaigning options to accommodate the evolving preferences of users as well as advertisers there
are many Successful video marketing campaigns that serve as a valuable source of inspiration for
business and marketing purposes let us look at some examples of successful video marketing campaigns
Presa coffee brand had launched a campaign titled the empty cup to raise awareness about the threat of
climate change to Coffee production the campaign had featured 20 and 30 second videos that got
impressive completion rates and significantly lower cost per completion in comparison to YouTube in this
context we should also refer to the campaign like a girl the catchphrase like a girl is often often used as an
insult towards any adolescent girl which adversely and permanently impacts her confidence and vision
about her own capabilities in future this professional campaign titled like a girl was published in Us in June
2014 and it was created for the brand Always by an ed agency since its debut in 2014 always like a girl
since its debut in 2014 this advertisement always like a girl has been widely celebrated for breaking
stereotypes and empowering women we can also refer to the video campaign of Dollar Shave Club which
had created a humorous video which went viral and helped the company gain over 12,000 new customers
within the first 48 Hours of its release the virus video at mocked the existing business model for its high
cost and inconvenient sales Channel following this strategy Dollar Shave Club has built a brand identity
now another successful Campaign which can be quoted in this context is that of oop which used printerest
to Showcase their videos and it helped them stand out as there were fewer Brands using video content on
this particular platform the company's printer page features a variety of videos including product demos
recipe ideas as well as lifestyle content these examples highlight the diversity and impact of successful
video marketing campaigns across different social media platforms Nespresso had leveraged native video
content on out brain for efficient brand promotion while always tapped into the aspect of empowering
storytelling on YouTube dollars shave clubs humor driven approach led to customer growth and oops
strategic utilization of Pinterest had contributed to enhanced visibility as well as sales these instances
underscore the significance of tailoring content to the strength of a particular platform and the preference
of audience resulting in campaigns that resonate and yield impressive results we can also refer to a video
advertisement by Adidas India its commitment to womman in sports is evident through the marketing
strategies which have been adopted they have launched campaigns like impossible is nothing which is
targeted towards women athletes and these campaigns have employed both offline and digital touch
points sharing stories and experiences that resonate With Their audience in the 2018 the famous brand
collaborated with media agency krro and U and then created a month-long campaign aimed at connecting
with football players and enthusiasts let us look at a short video as a case study that highlights Adidas
successful outof home Campaign which was started in 2018 and its advertising strategy on social media
this campaign gained viral traction due to its strategic social media promotion which had formed a core
element of their effective marketingstrategy so Adidas probably was the coolest campaign in my opinion
that we've done since I was here they bought a package of signs with us it was a mix of hotpots as well as
a couple of wallscapes they had their list of influencers that they work with and the first round of their
creative was calling out to each of these influencers so it' say at with the person's Instagram handle and it
said something that related to their social media page and basically said come to our brand new store
we've got a surprise for you we had these influencers who knew there was a billboard going up wasn't
quite sure was going to be on there they were all scrambling out to get to their location and a lot of the
times our installers were calling me saying like who is this person that's watching me they're asking if they
can keep this billboard after what's going on they're videotaping all of this and it was like oh that's the
influencer that's there um they want a picture of their billboard all of these influencers with hundreds of
thousands even in one case um over a million followers that was posting about our Billboards um and like
their name being on a billboard so that was really cool and it was a great way to engage influencers
because they were super engaged seeing their billboard going up and then they were actually going to the
store after that to pick up their free pair of shoes that was being gifted to them but then what was cool
after that was that ad copy was only up for a week then it got switched out and it was add copy that went
up of the actual shoe not only did it speak to the influencers but it also spoke to the audience right
afterwards I would say the Adidas campaign was probably the best example I've seen of how you can
really tie in outdoor advertising with a big splash on social media it was a great way to pair the two and
really get the most effective [Applause]campaign the editas campaign combined Outdoor advertising and
social media to create a highly engaging and effective marketing strategy they had utilized Billboards hot
spots as well as wall escapes to Showcase influencers names and messages inviting them to visit the
Brand's new store for a surprise after a week the content of the billboard changed to showcase the actual
showes effectively reaching a broader audience this campaign simplified a successful integration of
outdoor advertising and social media campaigns using the digital means it resulted into a powerful and
impactful marketing approach an exploration of social media advertising and marketing strategies alerts
us to the dynamic landscape where platforms like Facebook Twitter and Linkedin Etc offer diverse tools
for effective engagement in the realm of social media marketing we can say that the integration of video
campaigns across these platforms has emerged as a vital conduit to capture the attention of the audience
and to convey compelling narratives and Foster meaningful connections we have also cited certain
successful campaigns on digital Platforms in this connection as we navigate this ever evolving digital
realm harnessing these insights can Empower business to craft impactful marketing strategies that
resonate with audiences and yield remarkable outcomes also we would continue our discussion with the
digital channels of social media in the next module also talking specifically about how it has changed the
way we look at entertainment thank you.

Social media entertainment and media studies

today we will look at the concept of advertising and the intricacies of advertisement campaigns as well as
examine how they synergize with social media marketing efforts to achieve overarching goals advertising
remains a primary component of a Brand's promotion mix which is used to inform and or persuade Target
audiences about their products the American Marketing Association has defined advertising as the
placement of announcements and persuasive messages in time or space purchased in any form of the
mass media in 2009 kin Hartley and rilis commend that advertising is like a group of friends that include s
personal selling public relations sales promotions and direct marketing these friends according to them
work together to help a company communicate about their products or Services they use methods that the
company pays for to talk about what they want to offer this could be through advertisements talking to
customers directly giving special deals or direct reaching out to customers Etc owing to the developments
in digital communication the advertising landscape has changed dramatically in recent years after the
linking of the web with net space the first commercial internet browser and its adoption as a
communication Channel advertising landscape grew faster than ever besides the advertising industry has
always followed the consumers and now with the change of habits in communication after the introduction
of the digital mediums the advertising industry has started to follow the consumers online especially on
social media platforms while developing new forms of advertising to relate to consumers in their virtual
presence it was in the 1990s that the the rise of the internet brought about online banners and payperclick
ads while subsequent decades saw the emergence of social media advertising mobile optimization
programmatic advertisement platforms and datadriven personalization patterns of digital and traditional
media ad spending is traced in a recent us study which has tracked the data between 2018 to 2022 as
shown in the figure on the right hand side of the slide data of the year 2018 state that difference between
digital and traditional media ad spending is only 3 billion that means that the money is spent on digital
advertising is expected to continue to increase further and maybe would be able to exceed is spending on
traditional media advertising pattern this shift can be attributed to several factors including the increasing
prevalence of online platforms the proliferation of mobile devices and the ability of digital advertising to
offer targeted and measurable campaigns let us look at a short video at this stage to understand why big
as well as the small brands are opting for digital advertising and why is spending resources on digital
advertisements proves to be a beneficial strategy for Effective marketing hello I'd like you to meet two
independent restaurant owners oi and sad they're both very passionate about serving high quality and
made from scratch food their restaurants are in good locations and they operate in the same local market
but from few days oi and sad are concerned about their restaurants and the reason is besides offering a
very delicious food they are unable to generate good sales and their profits are going down day by day so
they consulted with some experts and they reached that conclusion that they need to Market their
restaurants to together people's attention and increase awareness among customers but that's where the
similarity ends oi decided to hire a couple of salese printed brochures and flyers he advertised in the local
newspaper and within a few weeks Sly started seeing sales at a lot of local customers oi was excited but
he had very high overheads and very low profit margins but he decided to wait a couple of years to see
some growth s on the other hand decided to Market his restaurant digitally he approached the reputable
digital marketing company and Outsource all his online marketing to them they came up with the strategy
to create an online presence they developed a NIC looking website worked on creating unique and quality
content Implement SEO strategies and also build awareness using social media platforms within 2 weeks
sod started seeing sales and a lot of customers from all over the city sod was happy since he had very
low overheads and very high profit margins in a few years saw Diversified and opened another restaurant
a couple of years later all he realizes his mistakes and he also hired a digital marketing company
traditional marketing can only get you so far think local but to act Global this video highlights the potency
of digital marketing over traditional methods in terms of its reach to the wider audience as well as
achieving higher profit margins narrating the contrasting experiences of two Resturant owners o and sad
who are facing declining sales despite offering quality food while while o has opted for traditional methods
we find that set's approach includes creating an online presence quality content SEO and social media
engagement leading to a rapid success and expansion in comparison to the other restaurant owner the
video underscores that while traditional methods may still have their place digital marketing provides a
broader reach engagement and greater business Acumen in today's digitally interconnected world all
business activities nowadays use social media platforms for advertisements including for example the
promotion of books let us look at the effectiveness of digital advertisement campaigns by citing a recent
example of a science fiction which has been published in August 2023 with the title Vega the Galactic
Warrior this recently launched science fiction authored by Prada gar is being actively promoted by the
author as well as by the publisher across a range of social media Avenues and this effort has led to a
substantial audience engagement within a short span of 15 days on platforms like Instagram the novel
had already garnered over 12,000 likes while on Facebook it has received more than 4,000 likes
accompanied by enthusiastic readers comments and shares leading to a strong curiosity among audience
social media offers authors and Publishers the opportunity to engage with a white and diverse audience
build a community of readers and create a vibrant sensation around their books the author of the science
fiction Vega is interacting directly with followers responding to their queries providing additional
information and thus fostering a sense of community this personalized engagement has contributed to
building trust and ultimately has been successful in driving sales also overall these engagements Have
Been instrumental in expanding the books online presence thus optimizing its accessibility for purchase
across Ross various e-commerce platforms also such immediate popularity is a result of online social
media tools which are efficiently used in this case it would perhaps have not been possible in any
conventional media campaign however in this context some experts also suggest a combination of the old
and the new methods and we here refer to Kenji goers an expert of consumer product and marketing
strategy in a recent research go has indicated that traditional media can also be efficient when evaluated
for recall and reach he has also present an in-depth analysis of cost and reach which reveals that the
range of traditional media can reach about 60% of the consumers while digital media tends to play you at
about 30% only to a some extent it also depends on the nature of the product also despite potentially
cheaper cost per impression for digital media traditional media also posts a higher return on investment or
Roi go has suggested that a combination of traditional and digital platforms would perhaps yield more
power than using either in absolute isolation for prominent Brands traditional media remains crucial for
their appeal Andre while smaller Brands might begin with cost effective digital media and later integrate
traditional methods also for an increased reach when we talk about advertisement as a strategic
communication for intimately reaching out to Consumers and the broader audience we should also be
aware of the differences between public relations and advertising the two are often used synonymously
however while advertising is a non-personal that is one way communication to sell a product or service
public relations consist of a two-way Communications seeking to build relationships and Trust the figure
on the next slide summarizes is the main differences between the two so we can say that organizations
and groups may use one or both of these pursuasion techniques in their marketing mix whereas the goal
remains perhaps the same the strategies are rather different whatever strategies we adopt in the realm of
digital advertising it is of Paramount significance to identify and Target a precise order audence a
particular concept which I would like to introduce in this context is known as narrowcasting narrow casting
is an effective communication tool for displaying media content or information on digital screens aimed at
a narrow and limited audience it does not reach Mass audience we can see it rather as having our own
personal television channel Channel or any social media platform which is exclusively sharing only with a
select group of viewers it can thus be viewed as the opposite of broadcasting which usually aims for the
widest possible audience in the field of advertising narrowcasting prioritizes targeting the right
demographic or psychographic audience overreaching a large number of viewers trop and liberman have
suggested that it affords more privacy and a reduced psychological distance between the interaction
Partners investing in those advertisements which Target only specific audience members may be more
cost effective than advertising to a broader audience as we do in the context of broadcasting the major
differences between the two are also Illustrated in the figure on the left hand side of this slide with the help
of digital communication tools ideas like buying an at on many social networking sites simultaneously has
become quite easy as we have discussed earlier in the context of narrow casting ads can be targeted to
very specific audiences based on interests demographics user behaviors or even as seen in this housing
head geographic location executing it on our favorite social medium is also not very difficult two examples
of such sites include Zillow and house therefore we see how narrow cast works much more effectively
than they could offline or in traditional media only now let us look at how advertising in virtually created
worlds actually works whichever social media we are using ads are inescapable advertisers seek to buy
sports wherever their Market is whether it is through email or whether it is within a video game site and
since digital ads can be quickly addited or targeted to the viewers of the audience we look at ads which
are more personalized to Us online than in traditional mass media Virtual Worlds also present new
channels and opportunities for advertising from open worlds like second life and sansar to video games
like Need for Speed Etc Virtual Worlds present advertisers new audiences and placements for advertising
their content advertising in Virtual Worlds also has several benefits firstly ads do not need to be repetitive
or intrusive as they are not interruptive in the same way in which they are in conventional videos we find
that audiences do not normally become Awards to them at the same time the more diversity of
advertisements also does not distract players and it can help advertisers get past perceptual filters to
reach out to audiences in new spaces the inclusion of varied advertisements that seamlessly integrate
without distracting players can facilitate advertisers in circumventing perceptual filters allowing them to
effectively engage audiences in these Innovative environments a second benefit to embedding the
advertising is that many users do not mind and may even appreciate the game play more players can also
also react negatively if the advertisement of product placements does not fit with the tone or theme of the
game for example a Mountain Dew advertisements in world of warcraft's fantasy world or azorath which
had to be either taken down or replaced a third benefit is the cost Effectiveness as EDS are entirely
digital they are relatively cheap to update substitute or modify this suggest that digital advertisements can
be updated much more than the offline advertisements such unique novelty of subtle online ads can
significantly Aid advertisers in promoting their products more efficiently for example digital advertisements
may not only promote a television program but can also be updated every seven days to reflect that
week's specific episode ads can also be customized and tailored to a specific group of players for a
particular video game however we also have to assess a new challenge which is both ethical and
procedural in advertising via CMC and it is the increased blurring of boundaries between advertising and
other forms of communication sometimes it can be increasingly difficult to identify an advertisement amid
other media one of the most evident of these boundary blurs is known as adver games that is
advertisements in the form of games adver games may be as simple as changing the protagonist to this
advertised product as Coca-Cola had done for its papsi Invaders game it was like Space Invaders but
with a Coke can fending of invading can of the competitor that is papsi ADV games can also simply
include the product in the sidebar or frame of another game also at the same time they can also include
more direct and involved incorporation of the brand into the game itself such as when Dorito chips created
the Dorito VR battle game in which players compete in a virtual world to collect Doritos it reminds us of the
Pokemon craze among children during the mid 1990s but it is much more complex and reachable owing
to the digital forms of communication advoc games also provide a means for Brands to have customers
interact with them at the same time they provide exposure to the brand without explicitly asking
consumers to buy a product or a particular service the challenge of stacking your rice krispy streets Ste
belies the fact that one is spending a lot of time engaging with the brand allbe it through the snap crackle
and pop of an online Gap we find that digital advertisement through video games is growing day by day
advertisement in other social media platforms is also becoming more and more popular and proving to be
much more effective sites like Google Amazon and Facebook are nowadays dominating the digital Market
space they dominate over 60% of All Digital advertisings spend on the internet and generate Revenue in
great numbers and this idea is called social media advertising so social media advertising is a specific
form of digital marketing where businesses utilize paid media to promote OTE their products or services
with the help of various social media platforms such as Facebook Twitter Instagram LinkedIn Etc this
strategy involves creating paid advertisements that Target a specific audiences based on their interests
and demographics it is also considered to be one of the most effective advertising methods due to its
ability to reach a large and diverse audience social media advertising involves crafting engaging content
interacting with followers and running paid advertisements on platform this strategy aims to increase
brand awareness Drive website traffic and also to generate leads social media advertising can be defined
as capturing all forms of advertising whether explicit that is Banner advertising and Commercial videos or
implicit that is fan pages or firm related tweets that are delivered through social networking sites or social
media platforms earlier in this module we had talked about the narrow casting strategy we will discuss two
more strategies which are known as filter Bubbles and eoch Chambers they are generally used in order to
manipulate the information that people receive receive online influenced by algorithms user behavior and
societal Dynamics in social media filter bubbles in eoch Chambers are Concepts that relate to how
information is filtered and personalized on the internet particularly with the help of social media platforms
filter bubbles are created by algorithms that track users online behaviors such as the content they click on
and then present them with content that aligns with their existing preferences and perspectives this is
what was previously known as cognitive dissonance and it can lead the individuals being exposed to a
very limited range of information that reinforces only their existing beliefs and this concept is known as an
Eco chamber we Eco our thoughts only only our thought patterns and platforms like Google use
algorithms to selectively present information to users based on their past Behavior their click Behavior
browsing history search history as well as location this can create a filter bubble where users only see
information which confirms their existing beliefs and does not expose them to contrary viewpoints the
following video discusses these Concepts in connection with Facebook and Twitterparticularly it's human
nature we surround ourselves with people we agree with and the internet has only made it easier for many
Twitter is a place to have existing views reinforced often without realizing it a lot of us choose to live in an
echo chamber a place where it can seem like everyone on Earth is just like us and Facebook well
Facebook takes it even further of course you can hide those posts from your goofy a but Facebook
actually does a lot of that work for you behind the scenes it knows what you like and what you comment
on what brands you follow what ads grab your attention events you're attending and Publications you read
Facebook uses all that data to feed its algorithms and those algorithms choose what you see and if you
know where to look you can actually see what Facebook thinks you like your interests your hobbies and
even your political views use the result is what's become known as the filter bubble where your timeline is
filled with opinions you share Facebook actually makes money off knowing those things they sell you and
your filtered bubble to advertisers those advertisers will pay more to get their products in front of people
that are likely to buy them and if you're seeing things you like you'll spend more time on Facebook seeing
more ads and making the company more money but does the bubble keep us well informed it's a tough
question to answer especially while the technology is still changing so fast but one thing's for sure that
technology has the power to make us more connected or more isolated thanever we can see that in the
world of social media filter bubbles are formed as people naturally gravitate towards like-minded
individuals a tendency which has been Amplified by the internet and the imacy of its reach Facebook in
particular takes active steps to curate users content based on their interactions likes comments and
interests ultimately creating the filter bubbles this bubble surrounds users with content that aligns with
their preferences thereby influencing their perception of the world and molding it towards a pre-cut Groove
only while the impact of these filter bubbles is complex and continually evolving they have significant
implications for both connectivity as well as isolation in our digitally connected world so how these
concepts are used in social media marketing and advertising they pertain to the potential limitation of
exposure to diverse perspectives due to algorithm driven content curation an eam number is one which
obviously equal our already existing viewpoints as the term suggests an eoch chamber merely EOS our
existing information and viewpoints and exposes us to only that type of information filter bubbles are
created by algorithms that track the user interactions and show content which is similar to what we have
been previously engaged in It ultimately leads to a narrowing down of information sources and these
Concepts can impact social media marketing strategies in several ways marketers can use behavioral
targeting to create filter bubbles by analyzing users online Behavior to deliver personalized ads this can
further reinforce users existing beliefs and limit their exposure to diverse perspectives to break through
the filter bubble marketers can also diversify the sources of traffic to their websites and this can be done
through guest blogging collaborating with other websites or influencers and also using paid advertising
campaign to reach a wider audience an essential element therefore in the field of marketing using the
digital communication mediums is selecting the appropriate at type which can be aligned with the goals of
the companies during the campaign setup advertisers possess the option to choose from an area of
platforms under the purview of meta which is formerly Facebook including Facebook Instagram
messenger and whatsa Etc this expensive scope facilitates engagement with the diverse spectrum of
potential customers moreover Facebook equips advertisers with tools to refine Target audiences through
intricate interests and recommended preferences in the previous lecture we had discussed campaigning
through post and pictures here we will focus on advertisement and video campaigning advertisers
effectively use the dynamic landscape of video campaigning within the sphere of advertising the primary
purpose of video campaigns is to capture the attention of potential customers by delivering messages
through Visual as well as auditory means it involves creating short and informative videos to promote
products or services and these videos are played before during or after other video content the viewers
are looking at and help tell his story improve sales volume create Buzz convey information concisely and
may reach a wider audience they can also be showcased simultaneously on various platforms including
YouTube and webites that are part of Google's video partner Network online video advertising is an
effective way to reach audiences and therefore it remains popular in the digital marketing landscape as
videos can evoke emotions and convey messages more effectively in comparison to other forms of
content they can immediately connect with audience at a much more personal level video campaigns also
enable Brands to measure their performance through metrics like views clicks and sale conversions from
Facebook and Instagram to Twitter LinkedIn Tik Tok YouTube Etc social media platforms have integrated
video campaigning options to accommodate the evolving preferences of users as well as advertisers there
are many Successful video marketing campaigns that serve as a valuable source of inspiration for
business and marketing purposes let us look at some examples of successful video marketing campaigns
Presa coffee brand had launched a campaign titled the empty cup to raise awareness about the threat of
climate change to Coffee production the campaign had featured 20 and 30 second videos that got
impressive completion rates and significantly lower cost per completion in comparison to YouTube in this
context we should also refer to the campaign like a girl the catchphrase like a girl is often often used as an
insult towards any adolescent girl which adversely and permanently impacts her confidence and vision
about her own capabilities in future this professional campaign titled like a girl was published in Us in June
2014 and it was created for the brand Always by an ed agency since its debut in 2014 always like a girl
since its debut in 2014 this advertisement always like a girl has been widely celebrated for breaking
stereotypes and empowering women we can also refer to the video campaign of Dollar Shave Club which
had created a humorous video which went viral and helped the company gain over 12,000 new customers
within the first 48 Hours of its release the virus video at mocked the existing business model for its high
cost and inconvenient sales Channel following this strategy Dollar Shave Club has built a brand identity
now another successful Campaign which can be quoted in this context is that of oop which used printerest
to Showcase their videos and it helped them stand out as there were fewer Brands using video content on
this particular platform the company's printer page features a variety of videos including product demos
recipe ideas as well as lifestyle content these examples highlight the diversity and impact of successful
video marketing campaigns across different social media platforms Nespresso had leveraged native video
content on out brain for efficient brand promotion while always tapped into the aspect of empowering
storytelling on YouTube dollars shave clubs humor driven approach led to customer growth and oops
strategic utilization of Pinterest had contributed to enhanced visibility as well as sales these instances
underscore the significance of tailoring content to the strength of a particular platform and the preference
of audience resulting in campaigns that resonate and yield impressive results we can also refer to a video
advertisement by Adidas India its commitment to womman in sports is evident through the marketing
strategies which have been adopted they have launched campaigns like impossible is nothing which is
targeted towards women athletes and these campaigns have employed both offline and digital touch
points sharing stories and experiences that resonate With Their audience in the 2018 the famous brand
collaborated with media agency krro and U and then created a month-long campaign aimed at connecting
with football players and enthusiasts let us look at a short video as a case study that highlights Adidas
successful outof home Campaign which was started in 2018 and its advertising strategy on social media
this campaign gained viral traction due to its strategic social media promotion which had formed a core
element of their effective marketingstrategy so Adidas probably was the coolest campaign in my opinion
that we've done since I was here they bought a package of signs with us it was a mix of hotpots as well as
a couple of wallscapes they had their list of influencers that they work with and the first round of their
creative was calling out to each of these influencers so it' say at with the person's Instagram handle and it
said something that related to their social media page and basically said come to our brand new store
we've got a surprise for you we had these influencers who knew there was a billboard going up wasn't
quite sure was going to be on there they were all scrambling out to get to their location and a lot of the
times our installers were calling me saying like who is this person that's watching me they're asking if they
can keep this billboard after what's going on they're videotaping all of this and it was like oh that's the
influencer that's there um they want a picture of their billboard all of these influencers with hundreds of
thousands even in one case um over a million followers that was posting about our Billboards um and like
their name being on a billboard so that was really cool and it was a great way to engage influencers
because they were super engaged seeing their billboard going up and then they were actually going to the
store after that to pick up their free pair of shoes that was being gifted to them but then what was cool
after that was that ad copy was only up for a week then it got switched out and it was add copy that went
up of the actual shoe not only did it speak to the influencers but it also spoke to the audience right
afterwards I would say the Adidas campaign was probably the best example I've seen of how you can
really tie in outdoor advertising with a big splash on social media it was a great way to pair the two and
really get the most effective [Applause]campaign the editas campaign combined Outdoor advertising and
social media to create a highly engaging and effective marketing strategy they had utilized Billboards hot
spots as well as wall escapes to Showcase influencers names and messages inviting them to visit the
Brand's new store for a surprise after a week the content of the billboard changed to showcase the actual
showes effectively reaching a broader audience this campaign simplified a successful integration of
outdoor advertising and social media campaigns using the digital means it resulted into a powerful and
impactful marketing approach an exploration of social media advertising and marketing strategies alerts
us to the dynamic landscape where platforms like Facebook Twitter and Linkedin Etc offer diverse tools
for effective engagement in the realm of social media marketing we can say that the integration of video
campaigns across these platforms has emerged as a vital conduit to capture the attention of the audience
and to convey compelling narratives and Foster meaningful connections we have also cited certain
successful campaigns on digital Platforms in this connection as we navigate this ever evolving digital
realm harnessing these insights can Empower business to craft impactful marketing strategies that
resonate with audiences and yield remarkable outcomes also we would continue our discussion with the
digital channels of social media in the next module also talking specifically about how it has changed the
way we look at entertainment thank you.

Digital storytelling
As we know, storytelling began as an oral tradition where tales, myths and histories were orally passed
down through generations as collective, racial and cultural repositories. Moving through the makeovers in
print, TV and silver screen, there is now a transformative shift in the ways of storytelling with the advent of
the digital age. Computers, internet and the multimedia technologies expanded the possibilities of how
stories could be told and experienced interactively and innovatively. The term storytelling often brings to
mind the image of an old storyteller following the tradition of old bards or Homeric narrators and rupturing
a live audience. Coleridge has imagined it so well in his famous poem, The Rime of the Ancient Mariner.
He holds him with his glittering eyes, the wedding guests stood still and listens like a three-year's child,
the mariner hath his will. Sheila Bernard places engagement at the root of storytelling. A story, according
to her, is the narrative or telling of an event or a series of events crafted in a way to interest the audience,
whether they are readers, listeners or viewers. Coleridge's famous passage buoyantly exhibits the
magical effect of a skilled storyteller, one who can mesmerise the congregation with wisdom, values and
courage like the old bards did in ancient times. Digital storytelling is the modern extension of this ancient
art interwoven with digitised, still moving images as well as sound. The term digital storytelling was
coined by Dana Atchley. In the 1980s, he had started using multimedia as a prop in his performances. He
used various digital tools, some of them are listed here, and devised a system that allowed him to tell
stories using music, video, photographs and films. In 1994, Atchley and Joe Lambert established the CDS
Centre for Digital Storytelling, which is now known simply as Story Centre. Atchley and his wife, Dennis,
had also founded the Digital Storytelling Festival in 1995, which is continuing even now. Atchley has
remarkably suggested that digital storytelling combines the best of two worlds, the new world of digitised
video, photography and art and the old world of telling stories. New world is of digitised video,
photography and art and the old world is of telling stories. This means that the old world of PowerPoint
slides filled with bullet point statements will be replaced by a new world of examples via stories
accompanied by evocative images and sounds with the help of the new digital media practices. So digital
storytelling should be considered as a form of digital media production that allows everyday people to
share experiences and stories. It can also cover a range of digital narratives, web-based stories,
interactive stories, hypertext and narrative computer games also. It is sometimes used to refer to
filmmaking in general and of late it is being used to describe advertising and promotion efforts also by
commercial as well as non-profit enterprises. A digital storytelling is based on a narrative. It can be fiction
or non-fiction, personal or general, etc. But it possesses compelling and emotionally engaging formats
and also can be interactive with the help of newly evolving digital tools. Initially in 1993, Dana Atchely had
used the definition of short, narrated films like a short clip of about two to five minutes and it was later
adapted and refined by Joe Lambert into a method of training promoted by the Story Centre. Digital
stories have been defined by Melissa Beck and Janice Neil as short vignettes that combine storytelling
with still pictures, video clips, music and text using a variety of video softwares. Storytelling in digital form
found its early prominence in the work of Kane Burns. His 1990 documentary, The Civil War, is often
regarded as one of the pioneering examples of this narrative genre. Burns had used first person accounts
to reveal several facets of the Civil War. He had combined archived photos, primary source documents,
interviews and narration in order to create a compelling narrative that captured the essence of the
American Civil War. The use of digital techniques such as panning and zooming on still images to create
a sense of motion added to the storytelling experience. Later on, this technique came to be known as the
Ken Burns Effect . In the next slide, we have a brief video excerpt from Ken Burns documentary, The Civil
War. The civil war was fought in 10,000 places from Valverde New Mexico and Tullahoma Tennessee to
St. Albans Vermont and Fernandina on the Florida coast. More than three million Americans fought in it
and over 600,000 men 2% of the population died in it. American homes became headquarters. American
churches and schoolhouses shoulder the dying. A huge forging army swept across American farms and
burned American towns. American slotted one another hole sale here in America in their own cornfields
and Peach Orchards along familiar roads and buy waters with old American names. In 2 days at shallow
on the banks of the Tennessee more American men field in all previous American wars combined. At Cold
Harbor, 7,000 Americans fell in 20 minutes. Men who had never strayed 20 miles from their own front
doors now found themselves soldiers in great armies, fighting epic battles hundreds of miles from home.
They knew they were making history, and it was the greatest adventure of their lives. The war made some
rich, ruined others, and changed forever the lives of all who lived through it. This documentary is cited as
one of the first models of this genre and became immensely popular, though it is sometimes criticized for
its lack of coverage of slavery as a root cause of the war. Some other significant artists in this genre who
should be named after the people who have been killed in the war are the people who have been killed in
the war. The artists who should be named are Abedon, Brenda Laurel, and Pedro Mayor. Although digital
storytelling encompasses various purposes, engaging a broad audience, relying on a broader spectrum of
content, it can also be understood or practiced as a focused personal narrative If you look at the first three
points in this slide, we find that critics and practitioners are coming to different time limits, so to say.
Norman has suggested two to three minutes. When it is called a micro movie, it can also expand up to five
minutes. And the suggestion is that the personal element should be emphasized, and linkages to other
people, happenings, places, et cetera, should also be presented with a personal touch. We can say that
the digital stories revolve around a single and well-defined idea, but at the same time, they can also leave
different threads at different contours within the story so that they can be developed in different media
formats later on. And that is why we find that the time limitations have also become redundant, as the
media and the formats of sharing a digital story online have also grown. We will look at this point further in
later slides. The aim of digital storytelling is to convey a message through imagery, which a lot of times
can be more effective than if it is just conveyed through sound. Let us have a look at a video. It is a
personal narrative created with the help of digital tools. For example, still pictures, short clips of videos,
text, and editors' own voice have been used in the depiction. Private property, contaminated. Caution,
historic mine waste, health hazard. The signs appeared suddenly in my hometown. After more than 100
years of mining history, they just showed up. No explanation, no context, as if they had sprouted from the
ground. Having been absent for so long, such warnings carry no weight. Too little, too late. My life is
permeated with gold and molded by human efforts to extract it. I understand this, and I am not threatened
by it. The old tailings pals are mine. In the winter, we built huge snow jumps at the bottom and skied off
them. Abandoned rusting trucks and pipes and machinery are mine. I discovered them with my friends.
The old hydraulic ditches are mine, perfectly graded for my mountain bike. The old mine road leading to
my blueberry patch is mine, and so are the jars of jam I made from the fruit. The swimming hole is mine,
where the cold creek from the mountains merges with warm waters from the lake. I know it's mine
because I wrote my name on it hundreds of times with a stick on red, oxidized, muddy banks where no
plants grow. Gold has a way of drawing people in, and history has a way of repeating itself. Chasing long-
forgotten riches, the new signs mark the rise of a new mine in old country. They say my home has proven
values, high grades, high returns, low environmental impact. They call my trees overburden, my rocks
ore, and my streams contaminated. The company answers questions I never asked. Who cares about
high grades or high returns? Do the miners pick my blueberries when they are working beside the road?
Do they put their feet in my creek? Are they making new tailings towels for skiing, new ditch lines for
biking? Will they leave us new treasures in the bush? When the gold that defines this place is finally gone,
what will remain? This video was made by Mica Jorgensen, who specializes in law and environmental
history. It was made for a workshop in digital storytelling in 2018. We find that here, Mica Jorgensen
becomes the voice of the rural people of the Bakerville Gold Mine area in British Columbia, Canada. She
uses vivid descriptions and personal anecdotes to engage the audience and make them empathize with
the narrator's perspective. The video also provides insights into some of the most important elements of
digital storytelling that align with the observations of Joe Lambert, the founder of the Digital Storytelling
Workshop. Lambert has suggested seven elements in terms of effective digital storytelling. The first point
suggests that digital stories should be personal, expressing the writer's own experience and
understanding. So, a personal point of view or a personal touch is the first element Lambert has talked
about. He also talks about the dramatic question which should be resolved by the end, keeping the
audience engaged. With the further developments in digital modes of communication and media, we find
that this issue is also being developed in different ways. For example, a particular question is resolved,
but at the same time, it leaves threads which are developed later on in an independent manner. Certain
examples would be discussed in the later slides. The digital storytelling should also evoke emotions and
should also keep the construction manageable with a sharp focus. The pace of the story should also be
adjusted, making tough decisions about what to include or omit during the revision of the script or the
different versions during the process of editing. Lambert has used the phrase gift of narrator's voice. That
means that using own voice to narrate the story adds a personal touch and is essential for effectiveness.
Lambert has also suggested that adding music to the story enhances the narrative, and he also cautions
us about citing the sources and taking care of the legalities. Digital storytelling has evolved over the years
from the simple narrated video to many forms that are more interactive in nature. These include websites,
online videos, and even movies designed with various purposes in mind. For example, to convey
important messages to entertain or to educate or to engage the audience. One notable example in this
context is scrollytelling. Scrollytelling is a digital storytelling technique that allows the audience to explore
the story in a nonlinear way by scrolling through the content. The term was first coined to describe online
long form stories characterized by audio, video, and animation effects triggered by simply scrolling the
page. It enriches the visual storytellers report higher through the harmonious union of scrolling and
storytelling. This interactive treatment of digital content elevated information in a way that had not been
achievable with static PDF reports, which also proved to be a more accessible format than PowerPoint or
keynote presentations. In this form of storytelling technique, with one part of the stories covered, and the
next part is revealed. And this creates a sense of anticipation and also engagement for the audience as
they are encouraged to keep scrolling to discover what happens next. One of the first examples of this
style to gain widespread attention was Snowfall, the Avalanche at Tunnel Creek, made in 2012. It was
published by the New York Times. Scrollytelling leverages some aspects of cognitive psychology too,
such as chunking or segmenting and the innate human desire for exploration, offering a structured and
interactive format that enhances comprehension, retention, and engagement through multimedia
elements. We can cite the example of Every Last Drop . Save Water Every Last Drop is an award-winning
website created by Nice and Serious in partnership with Waterwise. This interactive site sensitizes us to
stop the wastage of water. The New York Times had created a scrawly telling piece titled How the New
Syria Took Shape in 2019 that exemplifies the power of this storytelling technique in conveying complex
geopolitical events to a broad audience. Visually, scrollytelling can easily engage readers with historical
facts, enabling them to interact with a map as they scroll for a clear understanding. Through a
combination of narrative elements, interactive maps, and multimedia, this piece also shows the evolving
landscape of digital journalism and storytelling coming closer. Scrollytelling thus goes beyond the
traditional articles or reports. It transforms passive consumption of information into an active exploration of
history, navigating through visual maps. These varied aspects of digital storytelling reinforce ideas and
appeal to different learning types in education also. By using digital storytelling, teachers can generate
interest, attention, and motivation among students of the digital generation in classrooms. Multimedia
storytelling is effectively used as an educational tool. The educational goals for teachers are to generate
interest, attention, and motivation for the digital generation in their classrooms. The use of digital
storytelling as a presentation tool also appeals to the diversity which exists in the learning styles of
heterogeneous classrooms. It capitalizes on a student's creative talents and allows their work to be
published on the internet for others to view and critique. So digital storytelling can be used by a class to
explore local community institutions and local history as well. I would refer to a project which has been
conducted in the Bengaluru district of Karnataka, India, in which students from seven government schools
utilized digital storytelling to create narratives about their interactions with various local community
institutions, such as bank, primary health centers, libraries, post offices, et cetera. The project was
participatory in nature with a team of students and teachers visiting these institutions and interacting with
the employees. The different tasks that were involved in this project were asking questions, seeking
clarifications, taking photographs, recording interviews in audio or video formats, and ultimately creating a
multimedia story. When students participate in these multiple steps of designing, creating, and presenting
their own digital stories, they also build on several literacy skills. While developing a script, the writing
becomes better organized. Organization skills by managing the scope of the project within a time
constraint also teaches them to finish the given task within the given time period. Research skills are also
strengthened as they have to find and analyze and choose the information while preparing the final
documentary. We find that these practices now are used internationally in the field of education, as
illustrated in the second point on this slide. Digital storytelling as an instructional strategy to help others in
society has emerged now as a powerful tool. It promotes health advisories, say about AIDS, cancer, et
cetera, and highlights concerns in partnership with marginalized communities. It is a type of critical
narrative intervention that allows people to reflect on their experiences and connect with others, promoting
health and addressing social inequality. Use of digital storytelling in the fields related with public health
was an initiative of Amy Hill of the Story Center. Projects were developed with the Centers for Disease
Control and the Open Society Foundations, which included work in gender-based violence prevention with
groups in different cities in the USA. Additionally, certain other projects were taken up with the
organization Snoke Gender Justice in South Africa and the widespread utilization of digital storytelling was
also done with the network of foster youth. Kim Anderson and Jonathan Cook discuss the use of digital
storytelling as a therapeutic tool for children who have experienced trauma. Their research suggests that
sharing the personal experiences with the children teaches them resilience and encourages healing in a
more productive manner. Digital storytelling is also used by several museums also at an international
level. Museums use it in interpreting and making community history easily accessible. The largest project
in this context, Culture Shock! was started in 2005. It is led by the Northeast Regional Museums Hub in
partnership with Culture Unlimited. It has recorded over 550 different stories from people across the
region and added their digital stories to the relevant museum collections. We find that similar initiatives
have been taken up by the National Gallery of Art in Washington, DC and also by the Colorado Historical
Society. The Colorado Historical Society in 2007 collaborated with the Story Center to create a program,
The Italians, to discuss the Italian American history. The museums work with communities to use
contemporary collected oral histories alongside those from archives to interpret the local history from a
personal point of view. Finished digital stories also can have many uses. For example, advertising an
upcoming exhibition, preserving a short-term project, building relations with communities, et cetera. They
also provide skills to volunteers and can be permanently displayed in galleries. Another interesting and
emerging area in this context is transmedia storytelling. It connects to different media platforms. Henry
Jenkins, an American media scholar, had first coined this term in 2003. He had further expanded upon it
in his writings and lectures. Transmedia storytelling is also known as a transmedia narrative or multi-
platform storytelling. It is basically a technique of telling a single story or a story experience in a cohesive
manner across multiple platforms and formats using the latest digital technologies. It represents a process
where integral elements of a fiction get dispersed systematically for the purpose of creating a unified and
coordinated entertainment experience. We may say that it goes beyond imitation or adaptation of a
particular fiction as each new platform offers fresh insights to the story. Jenkins has mentioned seven
fundamental principles of transmedia storytelling, which can be seen in the image in the slide. These are
spreadability versus drillability, continuity versus multiplicity, immersion versus extractability, world-
building, serility, subjectivity, and performance. In transmedia storytelling, each medium adds its distinct
value to the development of the story. It assists in the telling of a story and also helps us in unveiling new
aspects. Jenkins has described transmedia storytelling as a process where different elements of fiction
are dispersed across multiple media platforms to serve the purpose of creating a coordinated
entertainment experience. In today's world, we find that a good transmedia text does not simply supply
information. Instead, it allows the fans or fandom to interact with the world within the text. As Carlos
Scolari has suggested, semiotics and narratology are also ways to analyze transmedia storytelling.
Semiotics is the science of science and a discipline concerned with sense production and interpretation
process. Narratology looks at how a structure and function factor into narrative with regards to its themes
and symbols. Transmedia storytelling is a narrative structure that breaks through both language, that is,
semiotics, and media, that is, the narratology here. Often the same text may create different kinds of
implicit consumers. A transmedia world is a point at which storytelling and technology intersect. It is the
art of communication that constantly travels from one medium to another, from online to offline, and vice
versa, engaging audience to co-create stories. An effective strategy of transmedia storytelling does not
take a passive approach. Instead, it engages with popular culture, making a story of its own and providing
new context. One example that Jenkins has given is of the media conglomerate DC Comics. This
organization releases comic books before the release of the related films so the audience understands the
backstory of the character. Much of transmedia storytelling focuses on larger complex worlds now, where
multiple characters and plot lines can be sustained for a longer period of time. It also attracts larger and
diverse groups of audiences. So, transmedia storytelling exists in the form of transmedia narratives, which
Kelinov and Markova defined as a multimedia product which communicates its narrative through a
multitude of integrated media channels. In his book, You Are Gonna Need a Bigger Story, published in
2017, Houston Howard describes transmedia storytelling as the art of extending history across multiple
mediums and multiple platforms in a way that creates a better business model for creators and a better
experience for the audience. So now we find that ultimately digital storytelling also has to find its practical
side, and that is the business. Simone Pont, in his 2013 work, digitally state how the internet is changing
everything, has also presented this aspect in detail. Pont cites Ridley Scott's alien prequel Prometheus,
released in 2012, and the three viral films produced by 20th Century Fox as part of the Advanced Global
Marketing Campaign, which is also a vivid execution example of transmedia storytelling theory. For
example, DC Comics released coloring books to attract younger audience, and they may also leave gaps
in the plot lines or character development to begin another extension of transmedia storytelling, such as
fan fiction. Robert Pratten has identified three types of transmedia story, franchisee, portmanteau, and
complex. To describe the relationship between and across the media, the first describes the story world
that is conveyed in multiple stories using multiple media. The second describes a single story that
consists of multiple media, and the third is a combination of these two. Focusing on franchisee, Jung has
described a transmedia franchisee taxonomy that focuses on individual text and their narrative-based
temporal relation to other text within the franchisee, prequels, sequels, interquels, midquels, et cetera. To
elaborate further on the point made by Robert Pratten, we can illustrate the idea of franchisee transmedia
storytelling by referring to the Matrix series, which involves not only the movies, but also the comic books,
video games, animated series, all contributing to the overarching narrative. As an example of portmanteau
transmedia storytelling, we can cite the Marvel Cinematic Universe, where characters from various comic
book storylines are brought together in a cohesive narrative across movies, TV shows, and other
mediums. Complex transmedia storytelling can be seen in projects like Ingress and the Lizzie Bannon
Diaries, where the story unfolds across multiple platforms, inviting audience interaction. Among several
widely renowned examples of transmedia storytelling, let us look closely at the famous Harry Potter saga
and its journey to become a transmedia storytelling franchisee. The first point on the slide is a reiteration.
To underscore the significance of Jenkins' idea, a good transmedia text does not simply supply
information. In a state it allows the fans of fandom to interact with the world within the text. Harry Potter is
perhaps the best illustration. Initially a young adult book series, Harry Potter has evolved into a
transmedia phenomenon that dispense multiple forms of media. It began as a literature for children in
1997, followed by the first Harry Potter movie released in 2001, but it matured alongside its audience,
expanding into movies that closely followed the books. Beyond this, it embraced transmedia storytelling
using various media to enhance the story rather than duplicating it. Rowling created a detailed, wizarding
world by setting the story in a real-life location and by creating texts within the story, which she would later
publish as books of their own, such as Fantastic Beasts and Where to Find Them. Movies, fan clubs,
comics, ceremonies, et cetera are also available to us. So, we find that in an interactive manner, the story
has moved across multiple platforms. So, we have fan fiction, such as fan-made videos, social media fan
groups, Harry Potter merchandise, Harry Potter World at Universal Story, at Universal Studios in Florida,
in Pottermore, an official Harry Potter website, which was created by J. K. Rowling herself. It was started
in April 2012 as a joint venture by Rowling and Sony. And this was a website where fans could create
their own account and could explore the story in a deeper manner. This website has recently been closed
in 2019 and has been replaced by wizardingworld.com, which has combined Harry Potter with Fantastic
Beasts, the prequel to the Harry Potter franchise. Jenkins had suggested that the most useful tool in
transmedia storytelling is creating an area where fans can expand and immerse themselves into this
story. Harry Potter has done it effectively. Transmedia storytelling, as we see, is influenced by the
economics of media consolidation, a concept known as synergy. In today's media landscape, we find that
companies are horizontally integrated, which means that they have interest across various formerly
separate media sectors. Large media conglomerates are motivated to extend their brand and franchises
across numerous media platforms. For instance, DC Comics, owned by Warner Brothers, is the studio
behind films like Batman Begins and Superman Returns. It also published comic books ahead of these
movies. These comics provided additional backstory, enriching the film experience, and also served as a
promotional tool to generate excitement for the upcoming films. And this blurs the line between marketing
and entertainment in today's digital media world. A frequent trend, which we witness in the field of
transmedia narratives, is that it does not perhaps revolve around a single character or an isolated
storyline. Rather, it prefers to center on an intricate fictional universe, which is capable of supporting
numerous interconnected characters and their narratives. We can, of course, cite the example of The
Matrix and The Hunger Games, et cetera. The act of constructing these expensive worlds sparks a desire
in readers to delve into every aspect of the universe, which continually keeps on extending just outside
the complete understanding and reach of the audience. This experience in itself offers a distinct form of
enjoyment to them. The idea of a neat ending of the story does not exist anymore in the conventional
sense. So, we can say that the conventional idea of a neat ending or a clear convincing conclusion of the
story does not exist anymore. The extensions of this transmedia story also serve a variety of functions. It
refers to the additional content or materials that may expand upon or complement a primary narrative,
typically across different media platforms. Let us now look at certain examples. The BBC had used radio
dramas to maintain audience interest in Doctor Who for almost a decade during which no new television
episode was produced. The extension may also provide insight into the characters and their movements.
For example, websites surrounding Dawson's Creek and Veronica Mars reproduced the imaginary
correspondence or journals of their feature characters. These extensions also expand newer aspects of
the fictional world, as in the web version of The Daily Planet, which was published each week by DC
Comics during the run of its 52 series to report on the events occurring across its superhero universe.
Extensions can also bridge events depicted in a series of sequels, and it can also enhance the overall
sense of realism in the fiction. Digital storytelling thus has revolutionized narrative expression through
multimedia and interactivity in the digital age. Transmedia storytelling expands narratives across multiple
platforms and mediums, enriching the overall storytelling experience and enriching audience exploration
of interactive possibilities of fiction and real worlds. In today's interconnected world, digital and transmedia
storytelling are essential tools for conveying messages, entertaining, educating, and connecting with
audience. It also has the potential for further evolution and innovation in the future. In the next module, we
will expand further on this discussion by looking at some interactive films and games.

Playing with stories

Good morning, dear friends and welcome to this module. In the previous modules of this week, we have
introduced the concept of digital storytelling and how transmedia storytelling has encouraged audience to
explore the various interactive possibilities of fictional and real worlds. Today we shall look at how these
forms of storytelling have emerged with fields like film and entertainment to evolve into new forms of
interactive media. Interactive cinema is a dynamic form of storytelling that invites the audience to engage
with the narrative actively. Unlike traditional films, it empowers viewers to make choices that influence the
plot's direction blurring the line between passive viewership and active participation. In the 1990s, large
screen interactive movies faced limited success as exemplified by inter-films early efforts. Immersion
Studios, however, has reignited interest in this field with a focus on immersive entertainment projects.
Their productions seamlessly merge dramatic storytelling and dynamic interactivity, immersing viewers in
a world of surround sound and expansive visuals. Unlike inter-films rudimentary three-button model, these
movies incorporate live action and 3D animation offering deeper and more meaningful engagement. The
revolution of interactive cinema has been remarkable from early experiments with branching narratives to
the sophisticated interactive storytelling of today's video games and digital experiences. It reflects the
growing desire for audience engagement and creative possibilities in the context of storytelling. Touch
screen consoles grant a personalized experience allowing exploration and control during game-like
segments creating a distinctive fusion of large screen and small screen interactions. Stacey Spiegel,
CEO of Immersion Studios, sees their movies as powerful educational tools for three key reasons. The
first is the immersive narratives dissolve the boundary between the viewer and the story fostering
suspension of disbelief. Second, the audience role in making decisions with real consequences keeps
them attentive and engaged with the material. And thirdly, the social collaborative aspect enhances the
learning experience. Immersion Studios employ three levels of interactivity, individual, collaborative, and
competitive. Their creations combine gaming elements with narratives aiming to evoke strong emotional
responses and nurture ongoing learning through supplementary sources like posters and websites.
Interactive cinema is also often referred to as a hyper story. Hyperstories embrace non-linear structures
making each viewing unique and offering a deeper level of engagement. Influenced by literary works of
James Joyce and Thomas Pynchon as well as by films like Citizen Kane and Pulp Fiction, she constructs
narratives that link to multiple story versions based on the choices of the viewer. Her 2000 film,
Uncompressed explores various characters representing archetypes and thematic oppositions shot in
distinct styles with color codes. The hyper story approach offers a more intricate view of the world with
each storyline showcasing different perspectives, encouraging audience engagement and challenging
their preconceptions. Hyper stories have evolved into the choose your own adventure game, adapting
interactive narrative techniques for broader audience. Emerging in the 20th century with printed books,
choose your own adventure stories extended into video games, interactive movies, and now on digital
platforms. The interactive choose your own adventure format debuted in Edward Packard's 1976 novel
Sugarcane Island. This innovative concept had earlier influences from Borges 1942 work The Garden of
Forking Paths and Italo Calvino's 1973 work The Castle of Crossed Destinies as well as 1979's work If on
a Winter's Night a Traveller. In 2016, Ctrl movies Late Shift marked the initial triumph of interactive film.
Netflix also embraced this trend with Puss in Book: Trapped in an Epic Tale in 2017 and Black Mirror:
Bandersnatch in 2019. These experiences empower users to make choices driving the storyline's
direction, character fades, and also the outcomes. This evolution caters to diverse storytelling preferences
showcasing the genre's adaptability across various media. Bandersnatch, an interactive episode of the
Black Mirror series, embodies the choose your own adventure genre in film form. The following trailer
briefly introduces the film. Based on the book, Jerome Davies was a genius. See that bloke who went
cuckoo and cut his wife's head off? When it's a concept piece, a bit of madness is what you need. You're
not hearing voices. There's no voices but there is something. Bandersnatch was the final score. It lets you
see the bigger picture. You're not in control. You're not in control. Let us further discuss this film and
explore its revolutionary impact on modern day entertainment. Bandersnatch is the first interactive film in
the Black Mirror series and unfolds in 1984, drawing on Orwell's surveillance themes. The hyper narrative
interactive storyline centers on Stephen Butler, a programmer adapting a fantasy game book into a video
game in 1984. The film explores postmodern themes, particularly the concept of free will and takes its
name from a video game project by Imagine Software in 1984. The term Bandersnatch originates from a
fictional creature created by Louis Carroll, which appears in his 1870s poems, Jabberwocky and the
Hunting of the Snark. Viewers navigate the narrative by making choices, leading to multiple storylines,
endings and character fades. Bandersnatch also provides a device specific tutorial for viewers offering
choice within a 10 second window. It comprises 150 minutes of unique content segmented into 250 parts,
offering over 1 trillion possible viewing paths. Some scenes are accessible through different routes
leading to distinct choices. The film features five primary endings with variations, though it boasts between
10 and 12 endings, including elusive golden arc endings. Series creators emphasize that no ending is
privileged, in fact, offering the opportunity to revisit choices and explore alternative paths. However, some
choices may lock certain endings. This branching structure reflects the essence of interactive storytelling,
offering a unique and immersive cinematic experience. Bandersnatch pushes the boundaries of traditional
film, giving audiences the power to determine the protagonist s decisions, ultimately shaping the unfolding
drama. Thus, Bandersnatch's distinctive blend of interactive choices and branching narratives
underscores its status as a hyper narrative interactive cinema. In a 2008 work, N.B. Shaul has introduced
the term hyper narrative interactive cinema. It refers to managing multitasking challenges while utilizing
interaction, audio visual design and hyper narrative structures to amplify engagement rather than diminish
it. Bandersnatch revolutionizes interactive storytelling by evolving from choose your adventure to
exploring the potential of television, blurring fact and fiction and shaping the future of narrative
possibilities. The viewer's decisions guide the plot's progression, resulting in diverse story arcs, which is a
prime example of how interactive cinema has evolved into hyper narratives. Consequently, such works
have transformed media consumption practices. Netflix employs coding using ones and zeros to assess
audience engagement and make narrative adjustments in real time, ensuring a sustained interest. This
transforms viewers into active participants going beyond consumers and involving them in co-creating the
storyline. Audience involvement in narrative follows the American tradition of ucronia and counterfactual
exploration. Examples for it include works like Philip Dick's The Man in the High Castle in 1962, Marvel s
What If 1977 to present day comics, films such as Inglourious Basterds released in 2009 and television
fiction such as Fringe, which ran between 2008 to 2013. Audience now seek more engaging and
participatory experiences as they have grown accustomed to influencing the story's direction.
Bandersnatch intricately guides viewers down predefined paths, albeit a bit complex one, offering an
illusion of choice. In the ever-changing landscape of cinema, driven by competitive streaming platforms,
storytelling has adapted to cater to an audience thirsty for innovation. However, it becomes evident that
Bandersnatch does not provide true 2free will, but confines choices within the limits of the medium. This
underscores the notion that societal norms and control mechanisms akin to Foucault's panopticon
predefine our choices. This Bandersnatch skillfully straddles the line between traditional storytelling and
video gaming, not just thematically, but also functionally. This shift has compelled content creators to
craft increasingly immersive and interactive narratives that blur the boundaries between passive and
active participation, presenting itself as a unique fusion of both mediums. However, it falls short of
granting viewers true autonomy, mirroring its own critique of the loss of individuality within the concept of
choice. We will discuss the concept of the panopticon and control in later modules where we take up the
dangers of modern digital communication media. Regarding story interactive design, Netflix's choice to
limit alternative routes and endings in Bandersnatch aligns with catering to a broader smart TV audience
and meeting medium demand from TV users. Bandersnatch diverges from the concept of autonomous
ergodic fiction. The team initially considered using GIF animations for choices, but switched to text
options, temporarily letterboxing the frame to make the choices clear. The lighting sound design and
aspect ratio of the film change while this takes place, designed to make the viewer feel certain pressure.
To familiarize viewers with the interactive concept, a seemingly trivial serial choice was included, which
influences the story and in-movie advertisements if choices are not made. This not only shows the viewer
how choices are presented during the film, but how their state is recalled by the Netflix app later in their
viewing. Bandersnatch's interactive design bears resemblance to the evolution of cinematic video games
in the early 2000s. In the 1990s, there was talk of Hollywood and Silicon Valley merging, but these efforts
often fall short. However, in 2003 and 2004, EA or Electronic Arts, a major game publisher, moved to Los
Angeles to collaborate with Hollywood's creative talent. EA emphasized that while games and movies
were distinct, they could draw inspiration from each other, emphasizing the importance of storytelling and
impulsive environments in games. Hollywood screenwriters began working on games, talent agencies
facilitated industry connections, and film studios like Warner Brothers volunteered into interactive
entertainment, signaling a shift towards an entertainment-focused approach in the gaming industry. This
shift highlighted the growing importance of storytelling in video games. In the 21st century, video games
are increasingly cinematic, employing high-quality visuals, sound effects, original scores, and intricate
plots. They are enlisting Hollywood stars for voice-over work, crafting extensive tailor-made dialogues for
an authentic gaming experience. In the Spider-Man game of 2002, writers crafted unique dialogues
unrelated to the movie, ensuring a tailored gaming experience. Additionally, Maguire and Dafoe lend their
voices, enhancing the game's authenticity. Many modern video games feature plots that resemble
compelling movies. Today, video games have surged in popularity, evolving from niche pastimes into a
global cultural phenomenon. But what makes them so popular? Video games offer a captivating
experience by transporting players into rich fantasy realms, allowing them to assume thrilling roles
without real-world risks. Players have agency, controlling the game's direction and outcomes, which is a
fundamental allure. Games cater to the universal desire for play and imagination, offering socially
acceptable enjoyment at any age. Various motivations drive gamers, from escapism and stress relief to
intellectual stimulation and competition. The continual decrease in challenge levels maintains player
engagement, while the adrenaline rush of conquering challenges provides a satisfying sense of
accomplishment. Video games have become a prime example of transmedia storytelling, where narratives
unfold across various platforms in media. This transmedia nature is evident as games extend beyond their
virtual confines, incorporating books, films, web series, merchandise and even real-world events, in order
to create a comprehensive and immersive story world. Transmedia involves narrative and diegetic
extensions, along with viewer engagement. Experiential activities like video games, offering interactive
contributions are considered, both crossmedia and transmedia. The 2015 work of Felix Schroter s, titled
The Game of Game of Thrones, explores the relationship between transmedia story worlds and video
games, focusing on George R. R. Martin's A Song of Ice and Fire and three video game adaptations. He
examines how narratives can be linked to games through underlying rules, outcomes, goals and conflicts,
rather than traditional narrative elements. This interconnected narrative approach enriches the gaming
experience, engaging players on multiple levels and expanding the reach of the game's story across
diverse mediums. We will be looking at the video game Quantum Break, from the Finnish video game
developer Remedy Entertainment, as a case study for this module. Quantum Break was released in 2016
and it is an action-adventure third-person shooter video game developed by Remedy Entertainment and
published by Microsoft Studios for Windows and Xbox One. The game's narrative revolves around Jack
Joyce, who gains time manipulation powers following a failed time machine experiment. He clashes with
his former friend Paul Serene regarding the impending end of time. The game combines action and
platforming elements and features junction points that influence the storyline. In the following video, actor
Sean Ashmore talks about his role as the protagonist Jack Joyce and what themes are central to the plot
of this video game. I mean I got involved with Quantum Break kind of like a lot of great opportunities in my
career. I just got a call from my agent saying hey there's um you know Microsoft and Xbox are starting this
new IP and they're interested in talking to you about it and Remedy Entertainment is going to be involved
and I know Remedy. I love Remedy games. I beat Max Payne on the set of X-Men 2. So this short story of
a Quantum Break, it's basically about a time travel experiment that goes awry and Jack Joyce, our lead
character, and Paul Serene who is their best friends at the beginning basically gain these abilities through
the this experiment going awry and really what the game is about is stopping the end of time. So there's
like these huge stakes. It's a science fiction action-adventure shooter along with an incredibly in-depth live
action in-game show. So, this was a totally different experience, and you know the motion capture
process is in one way it was like really challenging because you're working in an environment where
nothing is there. I mean I'm sure everybody's seen it now. You wear those suits, and you have a head
cam and you're in sort of a blank empty warehouse and it's just actors and a few basic props and that's it.
For me what I care about is like the story is huge and exciting but there is real relatable drama. Like to me
the idea of two friends becoming the worst of enemies is like something that I want to explore and know
about. That's like just good drama. So, when you put it in the midst of this gigantic science fiction
adventure, I think that's something people are going to like really enjoy. Alongside Ashmore, the game
features actors Aiden Gillian and the now late Len Sneck. That portrayed important roles in the game.
Quantum Break embraces transmedia storytelling by intertwining its gameplay with a digital series and
novel creating a unified narrative experience across different media platforms. The transmedia approach
of Quantum Break aligns with the concept of the transmedia storytelling proposed by Henry Jenkins. The
game focuses on the main character and the digital series enhances supporting characters and their
motivations. Players briefly control the antagonist Paul Serene making choices based on his time travel
induced premonitions. Following each choice or junction point a 20-minute digital series episode reflects
the player's choice impacting the events of the game. Players find quantum ripples or hot spots during the
game interacting with them to trigger additional scenes in the digital series episodes like a vanishing
cardboard t-rex that baffles characters. Therefore, the combination of gameplay and live action content
demonstrates how video games can extend their narrative beyond the screen engaging players on
various levels simultaneously. In conclusion, interactive digital storytelling is a multi-faceted and evolving
art form that bridges the gap between traditional narratives and active audience participation. Films,
games and new media converge in interactive digital storytelling. Audiences transition from passive
spectators to active co-authors of the narratives. Transmedia storytelling showcases the dynamic and
interconnected nature of this medium. The evolution of hyper stories paves the way for complex multi-
faceted narratives. Groundbreaking works like Bandersnatch, Alan Wake and Quantum Break exemplify
the boundless potential of interactive storytelling. Interactive digital storytelling offers a unique fusion of
creativity, technology and audience agency assuring an exciting era of narrative exploration through
digital means. In the next week, we will discuss the ethical aspects behind modern communication media
in our digital era.

Till week 8 is done