Information Technology Reference
In-Depth Information
in otherwise dubious ways, other players may judge that I as a
player
am
a person of good character. In voice communication or on boards related
to the game, I may present a persona to other players—e.g., expert player,
mentor, activist, etc.
The construction of personae in social networks that are not games is a
tricky business. Let's use photography as an example. We all see the enor-
mous changes that have been wrought by point-and-shoot cameras that can
enable unskilled folks to make high-quality (if not high-art) images. The
coupling of cameras with smart phones makes the point-and-shoot practice
even more tempting because it enables near-instantaneous sharing of one's
“here and now.” The ability to distribute images through various social net-
works has accelerated the proliferation of photography as a way to play
and communicate as well as a way to create one's
persona
.
In terms of technology, one may be an expert in using a sophisticated
camera and editing suite, or one may choose to point and shoot, then apply
any of a plethora of “effects” applications to create interesting-looking im-
ages with much less investment in time or expertise. Both can be engaging
activities when the tools and their affordances are well designed. They do
differ, however, on the level of character. A “professional” photographer in-
tends to express complex ideas with greater depth—to create “fi ne art.”
14
A
casual photographer intends, usually, to express the here-and-now with less
planning and attention to expression. As a persona, “expert photographer”
will likely not be a good match for the casual photographer who uses quick
effects. Although the lucky casual photographer with an excellent eye may
be able to get away with it, the casual photographer is more likely to earn
a persona identifi ed with a sort of visual gregariousness. In this hypotheti-
cal example, we can see how character can constrain persona: A person's
“character” (choices and actions) may constrain the sort of persona they
may credibly create. Since social networks are so much about personae, I
see them as more narrative than dramatic in structure. It may be, however,
that the action of constructing a persona has its own dramatic arc.
In this section, we can see that Character operates as a lynchpin in
holding the structure of the experience together. Character is where the in-
teractor's and the designer's intents meet. So, in addition to the forces of
the four causes shown in Figure 4.1, we can view the level of character as
an important locus of constraints.
14. Hilary Hulteen (professional photographer and my grown daughter), personal
communication.
