Статті в журналах з теми "VIDEO BEHAVIOUR PROFILING"

The presence of online dating in the current digital era makes it easy for users to find their desired potential partner. The problem arises when not all online dating services require users to verify identity. Some users easily fake their identities to make them appear more attractive, known as catfishing behaviour. On the one hand, constructing an identity for a specific purpose is common in online dating services. But on the other hand, it can trigger a psychological impact for potential partners whose expectations are not met, and can even open a loophole for crime. This study wants to see the perception of online dating service users towards the catfishing phenomenon. Using the phenomenological method, this descriptive qualitative research was conducted with in-depth interviews with four informants who use online dating services with varying intensity of use and level of experience. As a result, the informants perceive a natural tendency to construct attractive impressions in online dating services. However, identity discrepancies in online dating services are at some point an unacceptable form of dishonesty. The informants also have their own anticipatory steps to avoid the snares of catfishing, from inviting video calls to doing their own profiling on social media. Keywords: Catfish, Identity, New Media, Online Dating

In the present paper, we address to construct a structured user profile in a Small Private Online Course (SPOC) based on user’s video clickstream analysis. We adopt an implicit approach to infer user’s preferences and experience difficulty based on user’s video sequence viewing analysis at the click-level as Play, Pause, Move forward… the Bayesian method is used in order to infer implicitly user’s interests. Learners with similar clickstream behavior are then segmented into clusters by using the unsupervised K-Means clustering algorithm. Videos that could meet the individual learner interests and offer a best and personalized experienced learning can therefore be recommended for a learner while enrolling in a SPOC based on his videos interactions and exploiting similar learners’ profiles.

Qualitative behavioural assessment (QBA) has been used to quantify the expressive behaviour of animals, and operant tests have been used to quantify measures of behavioural need. In this study we compared measures of behavioural expression and behaviour in operant tests. We examined the behavioural expression of pregnant ewes of body condition score (BCS) 2 and 3. The ewes were exposed to a feed motivation test in which they received a food reward. Pregnant ewes (48–70 days gestation) were assessed during a food motivation test after they had been maintained at BCS 3 (n = 7) or given a decreasing plane of nutrition that resulted in slow loss of 1 BCS unit (over 10–12 weeks; n = 7) or a fast loss of 1 BCS unit (over 4–6 weeks; n = 7). The feed motivation test involved ewes having the opportunity to approach a food reward and then being moved a given distance away from the reward by an automatic gate; they could then subsequently return to the feeder. Continuous video footage of each ewe during one cycle of the gate (approaching and returning from the food reward) was shown in random order to 11 observers who used their own descriptive terms (free-choice profiling methodology; FCP) to score the animals using QBA. Data of the assessment were analysed with generalised Procrustes analysis (GPA), a multivariate statistical technique associated with FCP. The research group also quantified the feeding behaviour of sheep in the same clips. These behaviours included how sheep approached the feeder, behaviours exhibited at the feeder, and how sheep returned from the feeder. There was consensus amongst observers in terms of their assessment of behavioural expression of the sheep (P < 0.001). The GPA found three main dimensions of assessed behavioural expression in the sheep, which together explained 44% of the variation observed. GPA dimension 1 differed between the three treatment groups (P < 0.05): ewes maintained at BCS 3 scored low on GPA dimension 1 (i.e. were described as more calm/bored/comfortable) compared with ewes that had a slow declining BCS (described as more interested/anxious/excited). GPA dimension 2 scores were not significantly different between treatment groups. However, quantitative behaviours exhibited by sheep during the clips were correlated with qualitative behavioural assessments made by the observers. Animals that spent more time ‘sniffing and looking for more feed’ were attributed lower GPA 2 scores (described as more hungry/searching/excited) (P < 0.05), and animals that ‘did not walk directly to the food reward (but stopped along the way)’ were attributed significantly higher GPA 2 scores (more curious/intimidated/uneasy) (P < 0.01). GPA dimension 3 scores also did not differ between the treatment groups; however, sheep that had a higher number of feeding events during the entire 23-h feed motivation test were attributed lower GPA dimension 3 scores (they were described as more hungry/bold/interested) (P < 0.05), and sheep that consumed a larger amount of the feed reward were attributed higher GPA dimension 3 scores (more curious/concerned/reserved) (P < 0.05). We conclude that QBA is a valuable method of assessing sheep behavioural expression under the conditions tested, in that it provided an integrative characterisation of sheep behavioural expression that was in agreement with quantitative behavioural measures of feeding.

In previous research we concluded that a personality profile, based on the Five Factor Model, can be constructed from observations of a player’s behavior in a module that we designed for Neverwinter Nights (Lankveld et al. 2011a). In the present research, we investigate whether we can do the same thing in an actual modern commercial video game, in this case the game Fallout 3. We stored automatic observations on 36 participants who played the introductory stages of Fallout 3. We then correlated these observations with the participants’ personality profiles, expressed by values for five personality traits as measured by the standard NEO-FFI questionnaire. Our analysis shows correlations between all five personality traits and the game observations. These results validate and generalize the results from our previous research (Lankveld et al. 2011a). We may conclude that Fallout 3, and by extension other modern video games, allows players to express their personality, and can therefore be used to create personality profiles.

The paper considers concurrent program modeling using resource constrained automatons. Several software samples are considered: real time operational systems, video processing including object recognition, neural network inference, common linear systems solving methods for physical processes modeling. The source code annotating and automatic extraction of program resource constraints with the help of profiling software are considered, this enables the modeling for concurrent software behavior with minimal user assistance.

Current approaches to player profiling are limited in that they typically employ only a single one of numerous of available techniques shown to have utility for categorizing and explaining player behavior. We propose a more comprehensive Video Game Player Profile Framework that considers the demographic, psychographic, mental model, and behavioral modeling approaches shown to be effective for describing gamer populations. We suggest that our proposed approach can improve the efficacy of video game player profiles by grounding data-driven techniques in game analytics with the theoretical backing of demographic, psychometric, and psychographic measurements. We provide an overview of our proposed framework, discuss the usage and relevance of each component technique, and provide a proof-of-concept demonstration with archived data.

Run-time profiling of software applications is key to energy efficiency. Even the most optimized hardware combined to an optimally designed software may become inefficient if operated poorly. Moreover, the diversification of modern computing platforms and broadening of their run-time configuration space make the task of optimally operating software ever more complex. With the growing financial and environmental impact of data center operation and cloud-based applications, optimal software operation becomes increasingly more relevant to existing and next-generation workloads. In order to guide software operation towards energy savings, energy and performance data must be gathered to provide a meaningful assessment of the application behavior under different system configurations, which is not appropriately addressed in existing tools. In this work we present Containergy, a new performance evaluation and profiling tool that uses software containers to perform application run-time assessment, providing energy and performance profiling data with negligible overhead (below 2%). It is focused on energy efficiency for next generation workloads. Practical experiments with emerging workloads, such as video transcoding and machine-learning image classification, are presented. The profiling results are analyzed in terms of performance and energy savings under a Quality-of-Service (QoS) perspective. For video transcoding, we verified that wrong choices in the configuration space can lead to an increase above 300% in energy consumption for the same task and operational levels. Considering the image classification case study, the results show that the choice of the machine-learning algorithm and model affect significantly the energy efficiency. Profiling datasets of AlexNet and SqueezeNet, which present similar accuracy, indicate that the latter represents 55.8% in energy saving compared to the former.

The Internet has allowed digital media users to be more than just consumers of political information, allowing the chance to create their own online political content. Thus, users can now create personal blogs, post comments on others’ blogs, contribute with citizen news, and upload their videos about current events and public affairs. Drawing from sociological and psychological frameworks, this study explores the socio-demographic and psychological characteristics of online political content creators and the effects of this behavior for the political and civic spheres. A survey of U.S. adults reveals that income and age are negatively correlated with political content creation, as well as emotional stability and life satisfaction, while extraversion was positively related. Further, the creation of political content was a positive predictor of political participation and civic engagement, even after controlling for demographics, psychological factors, media use and trust, suggesting a positive linkage between the production of online political content and both political and civic participatory practices.

Most plastic processing set points are variables that need to be defined for each sample point of the cycle. However, in the absence of on-line measures of part quality, the set points cannot be defined by feedback and need to be prescribed a priori for the entire cycle. In conventional practice, the shape of each set-point profile is defined either heuristically, according to qualitative experience, or mechanistically, to enforce a predefined trajectory for a simulated internal process state that is used as a surrogate measure of part quality (e.g., the velocity profile defined to dictate a constant melt front velocity). The purpose of this study is twofold: (i) to evaluate the efficacy of using a single internal state as the surrogate of part quality, and (ii) to explore the feasibility of devising a multivariate profiling approach, where indices of multiple process states act as surrogates of part quality. For this study, an injection-compression molding process used for production of digital video disks was considered as the development domain, and a pseudo-optimal cycle of the process was found by reinforcement learning to provide a basis for evaluating the ideal behavior of the process states. Compared to conventional molding, the results indicate that the asymmetric process capability index, CPK, was increased by ∼50% with velocity profile optimization and to 120% with both velocity profile and pressure profile optimization. Two general conclusions result. First, velocity and pressure profiling provide important degrees of freedom for optimizing process control and maximizing part quality. Second, estimators for unobservable process states, in this case birefringence and warpage, can be used to develop different machine profiles to selectively trade off multiple quality attributes according to user preferences.

The paper presents a theoretical and legal analysis of the processes that result in bringing individuals, legal entities and society as a whole to the «digital circuit», that is, a special environment for communication between subjects and management of their behavior through algorithmic systems of processing and analyzing data thereof. The main directions of building a system for regulating the behavior of individuals through the analysis and processing of personal data are noted. The integration of various state databases with information about subjects within the framework of e-government projects, the development of video surveillance systems and automated analysis of video events, control over the digital traces of an individual on the Internet. Digital profiling of individuals and organizations based on the data collected about them allows government agencies to implement a policy of admission and restrictions, conditioning access to public services and private services on the content and quality of biographical (reputational) information about the subject in the relevant databases. To a certain extent, the developing regulatory system echoes the ideas of Confucianism. A hierarchical (ranked) society is formed instead of the principle of equality of subjects before the law and the court; the boundaries of freedom of its members are determined not by the law, but by their reputation, that is, data in relevant sources; the legal behavior of subjects is ritualized, becomes more the result of habit and conformity than conscious choice; law merges with social ethics. These transformations mean an irreversible change in the very foundations of Western-type legal systems. The author presents a probabilistic forecast of the development of legal systems following the identified trends, and proposes a possible explanation of these transformations.

This study aimed to investigate how three groups of people of differing ages, and with differing knowledge of the species, perceived the emotional state of African elephants (Loxodonta africana) managed in captive and semi-captive environments. Fifteen video-clips of 18 elephants, observed during three different daily routines (release from and return to the night boma; interactions with visitors), were used for a free choice profiling assessment (FCP) and then analyzed with quantitative methods. A general Procrustes analysis identified two main descriptive dimensions of elephant behavioral expression explaining 27% and 19% of the variability in the children group, 19% and 23.7% in adults, and 21.8% and 17% in the expert group. All the descriptors the observers came up with showed a low level of correlation on the identified dimensions. All three observers’ groups showed a degree of separation between captive and semi-captive management. Spearman analyses showed that stereotypic “trunk swirling” behavior correlated negatively with first dimension (free/friendly versus sad/bored) in the children’s group; second dimension (agitated/confident versus angry/bored) amongst the adults; and first dimension (active/excited versus agitated/bored) amongst the experts. More studies are needed to investigate other potential differences in assessing elephants’ emotional states by visitors of different ages and backgrounds.

Atlantic salmon (Salmo salar) display high levels of agonistic behavior in aquaculture farms, resulting in fin damage and chronic stress. Aggression affects fish growth and performance negatively, and presents a serious welfare problem. Indeed, it would be beneficial to identify, separate or exclude overly aggressive individuals. Research on behavioral syndromes suggests that aggressive behavior may correlate with other behavioral traits, such as boldness and locomotory activity. We aimed to develop a high-throughput method to quantify and predict aggressive behavior of individual parr in hatchery-reared Baltic salmon (Salmo salar L.). We screened approximately 2000 parr in open field (OF) and mirror image stimulation (MIS) tests. We extracted seven variables from video tracking software for each minute of the tests; distance moved and duration moving (activity), the duration in and number of entries to the center of the arena (boldness), the distance moved in and duration spent in the area adjacent to the mirror during the MIS test (aggressiveness) and head direction (lateralization). To investigate the relationship between activity, boldness and aggression we first correlated the first six variables to one another. Second, we assigned individuals to high, medium, low or zero aggression groups based on the MIS test and quantified activity and boldness in each group. Third, we analyzed whether the fish viewed the mirror with the left or right eye. Our results show that medium and low aggressive fish were the most active, while highly aggressive fish showed average activity. Aggressive groups did not differ in boldness. Activity and boldness were positively correlated. Finally, we detected a preference for fish to view the mirror with the left eye. We conclude that aggressiveness cannot be predicted from the results of the OF test alone but that the MIS test can be used for large-scale individual aggression profiling of juvenile salmon.

To identify feasible indicators to evaluate animals’ emotional states as a parameter to assess animal welfare, the present study aimed at investigating the accuracy of free choice profiling (FCP) and fixed list (FL) approach of Qualitative Behaviour Assessment (QBA) in horses during the loading phase of transport. A total of 13 stakeholders were trained to score 2 different sets of videos of mixed breed horses loaded for road transport, using both FCP and FL, in 2 sessions. Generalized Procustes Analysis (GPA) consensus profile explained a higher percentage of variation (80.8%) than the mean of 1000 randomized profiles (41.2 ± 1.6%; p = 0.001) for the FCP method, showing an excellent inter-observer agreement. GPA identified two main factors, explaining 65.1% and 3.7% of the total variation. Factor 1 ranging from ‘anxious/ to ‘calm/relaxed’, described the valence of the horses’ emotional states. Factor 2, ranging from ‘bright’ to ‘assessing/withdrawn’, described the arousal. As for FL, Principal Component Analysis (PCA) first and second components (PC1 and PC2, respectively), explaining on average 59.8% and 12.6% of the data variability, had significant agreement between observers. PC1 ranges from relaxed/confident to anxious/frightened, while PC2 from alert/inquisitive to calm. Our study highlighted the need for the use of descriptors specifically selected, throughout a prior FCP process for the situation we want to evaluate to get a good QBA accuracy level.

Abstract While many trajectory models exist to predict the movement of oil floating in or on water, few are designed to address heavy oil on the bottom of water bodies. In addition, remobilization (erosion) of the material into the water column is also difficult to predict. While properties such as adhesion, viscosity and density of oil may be readily measured, the critical shear stress (CSS) and the effect of (current) velocity, salinity, and temperature are virtually unknown for most heavy oils. The Coastal Response Research Center (CRRC) has a 4,000 L annular flume, with a water depth of 0.43 m. An inner rectangular flume (1.2 m length, 0.2m width, 0.9 m height), placed inside the annular flume, was preceded by two flow straighteners to reduced turbulence and produce a uniform, one dimensional flow field. The current is generated by an electric thrust motor and measured in 3D by a Nortek AS (Norway) Vectrino II Profiling Velocimeter. A 20g circle of Alberta bitumen (API ~ 10°) was placed on a laminated grid (1cm2 square pattern) at the bottom of the straight flume. A total of 2.3m3 of water was then gradually added to the flume. The electric motor was started and the profiler began collecting data. Two cameras, placed along the side and above the oil, collected video of the erosions and length/width changes of the oil. Conditions were held steady for one hour once the desired current velocity was achieved. Temperatures, current velocity (X, Y, Z), and digital videographic data were collected during each run. Erosions and percent lengthening of the oil was monitored as a function of water temperature, salinity and velocity. The turbulent kinetic energy (TKE) method was used to calculate the bed shear stress (BSS). In addition to the expected impact of higher temperature on the movement along the bed and erosion into the water column, the viscoelastic and shear-thinning properties of the bitumen played a role in its behavior (lowering of viscosity at higher BSS slowing erosions and movement) and must be considered when predicting its behavior during a spill.

The increasing relevance of platformization sheds light on the role of algorithms in filtering political content, profiling audiences and defining the rules for the competition between traditional outlets and new content creators online. More importantly, algorithms learn and adapt results based on users’ activities online. But, if algorithms learn over time, how to deal with this time-varying dynamic when analysing them? The present paper brings a method for analysing YouTube search ranking and related video algorithm results over time, applied to a corpus of 1346 videos related to the war in Ukraine connected through 7934 related video links, starting on 21st November and stopping on 5th December. Results show that YouTube search and related video algorithms differ considerably in their behaviours, considering the channels and video clusters they benefited over time. It could be a dangerous bias to focus solely on one of the algorithms or presume its functioning based on collections made after – and not during – the political events they influenced. More than a matter of choosing methods, to understand how algorithms are changing the network structure of the current public sphere, it is important to develop new ones.

IntroductionHorse racing is a major sport practiced worldwide. The environment to which horses are exposed during race meetings can influence their behavior. However, to the best of our knowledge, a method for assessing a horse’s response to its surroundings during the pre- and post-race periods has not yet been reported. This study aimed to create a standard list of descriptors for use in a qualitative behavioral assessment (QBA) focused on assessing the emotional expressivity of horses before and after racing events.Materials and methodsSeventy pre- or post-race 30-second videos of horses were randomly selected from our database of 700 videos. A panel of 8 experienced equine sports medicine specialist veterinarians watched a 60 min presentation on QBA. The panel then watched all videos randomly, simultaneously, individually, continuously, and without any verbal interaction, describing the descriptors related to the emotional expressivity of the horse after each video using a method known as free-choice profiling (FCP).ResultsThe initial selection of descriptors was based on those indicated by more than one evaluator in the same video, or descriptors with more than 20 occurrences. The second selection was performed based on the content validity index (CVR) to select the descriptors retained in the previous step. Another panel of six veterinarians scored each of the descriptors retained for content validity on a visual scale. Interobserver reliability was estimated using the intraclass correlation coefficient (ICC) and its respective 95% confidence intervals (CI). A natural language processing (NLP) algorithm was used to analyze the behavior (positive or negative polarity) of the descriptors based on the lexicoPT package of R software.Discussion/ConclusionNLP analysis considered the descriptors “agitated,” “troubled,” “restless” and “irritated” to have a negative polarity, while “focused,” “relaxed” and “peaceful” had a positive polarity. In the principal component analysis (PCA), descriptors in a negative state were associated with each other and inversely associated with descriptors in a positive state. We conclude with a fixed list of descriptors to be used in a QBA to assess emotional and welfare expressivity in racehorses’ pre- and post-race environments.

AbstractTechnologically enhanced means and devices in language education and research have enabled an in-depth exploration of the dynamics of writing. This study investigated the pausing behaviour of eight Chinese English as a Foreign Language (EFL) learners at the tertiary level in performing an online writing task. Quantitative and qualitative data were collected using a combination of methods and techniques, including keystroke logging, screen recording videos, think-aloud protocols, and stimulated recall interviews to establish a profile of each learner’s pausing behaviour. The learners’ pause profiles were extensively analyzed with a comparative focus on similarities and differences in EFL learners’ pausing behaviour across writing skill levels. Overall, the findings revealed a general tendency for the learners to pause most frequently at a low text unit level, i.e., the lexical level. More specifically, less-skilled writers tended to pause more frequently than more-skilled writers at lower-level text units, whilst more-skilled writers chose to make more strategic pauses to gain overall control of their writing. Furthermore, these findings help reveal the intricate self-monitoring patterns that undergird individual writer’s pausing behaviour and relate these patterns to self-monitoring awareness, writing knowledge and experience, and writing habit. This small-scale multi-method study offers a glimpse into how EFL learners at different skill levels would respond to a real-time online writing task by using resources at their disposal and under conscious monitoring. Methodologically, it adds empirical evidence to previous literature on researching the computer-aided writing process with computer-aided tools and considers productive complementation and triangulation across research approaches and paradigms.

Verkko-oppimisympäristöjen suosio kasvaa kiihtyvällä tahdilla maailman laajuisesti ja samaan aikaan tarve uusille lähestymistavoille verkko-oppimisen ja -opetuksen kehittämisessä ja tutkimuksessa on kasvanut. Vaikka lokitiedot mahdollistavat verkkokäyttäytymisen tutkimisen, on tätä mahdollisuutta hyödynnetty verkko-oppimisen ja -opetuksen tutkimuskontekstissa verrattain vähän. Tutkimuksessa hyödynnettiin lokitietoja verkkokurssin arvioinnissa ja kehittämisessä MOOC-ympäristössä. Tässä artikkelissa kuvataan oppimisprosessia lokitietojen avulla sekä pohditaan sitä, minkälaista ymmärrystä oppimisesta lokitiedot voivat tuottaa ja miten tällaisen tiedon voisi tulevaisuudessa valjastaa oppimisen tueksi. Tutkimusaineisto koostui matematiikan opettajien (N=58) täydennyskoulutusverkkokurssin lokitiedoista. Tutkimustulokset osoittavat, että syvällisemmät tai enemmän aikaa vaativat aktiviteetit keskeyttävät yhtenäisen opiskelun herkemmin kuin esimerkiksi videoluennot. Lyhytkestoiset videot ja nopeasti vastattavat kyselyt sen sijaan sitouttavat osallistujia yhtenäiseen opiskeluun. Vaikka suoristustavoissa on yksilöllisiä eroja, verkkokurssin kehittämistarvetta on mahdollista arvioida lokitietojen avulla. Esitämme artikkelissa vision siitä, kuinka tulevaisuudessa lokitiedot voisivat automaattisesti analysoitua, järjestelmä tunnistaisi oppimisprofiileja ja verkko-oppimisympäristö muokkautuisi automaattisesti tunnistettujen opiskelutaipumusten mukaan. Kun prosessiin yhdistetään tekoäly myös profilointialgoritmi kehittyisi automaattisesti käyttäjädatan kasvun myötä. In English Web-based learning enviroments have become increasingly popular world-wide. At the same time, the need for new approaches to both supporting and investigating teaching and learning have emerged. Although log information enables research of online behavior, this opportunity is not used to its full potential in the context of web-based teaching and learning. This research utilized log information in the assessment of a MOOC course and its development. This article describes the learning process with the help of log information. It also envisions what kind of understanding of the learning process log information can provide and how this understanding may be harnessed to support learning in the future. The data consisted of the log information of mathematic teachers (N=58) participating in an online continuing training course. The results show that in-depth time-consuming activities interrupt studying more easily than video lectures for example. Short videos and quick queries engage the participant in more coherent study. Although there are individual differences in the studying, less well-functioning teaching content and tasks can be recognized through log information. We present a vision of how log information can be automatically analyzed; the system would recognize learning profiles and the online environment would automatically modify itself according to the profile. When AI (artificial intelligence) is utilized the profiling algorithm would develop automatically as user data accumulates. Fulltext in Finnish.

Introduction. Club parties are becoming very common among youngsters at present days. They tend to shout, yell, scream and indulge in other vocally abusive behaviors beyond their vocal range and for a long period during club parties. Vocal abuse in presence of high background noise with poor vocal hygiene and various other environmental factors have a disastrous effect on one's voice. The present study aimed to show and correlate theObjective. effect of vocal abuse (during vocally demanding situations like club parties) on the perceptual and objective vocal features of youngsters. This study included a total of 20 youngsters with equal gender distribution, age range 18-23 years.Methodology. Pre-test and post-test research designs were applied. Perceptual scales such as GRBAS, Video laryngoscopic examination(otopront 1CCD), and Acoustic voice analysis (CSL-4500) were used for all the candidates. Appropriate statistic analysis was done for the values obtained to measure and compare pre and post-club-party effects on samples. TheResult. post-party effect represented vocal effects on the GRBAS scale, VLS examination, and acoustic values on CSL. However, changes that were more prominent and statistically signicant for Females (P<0.05- SPI, jitter, shimmer, APQ) may be due to laryngeal precipitating factors in female vocal cords. Changes in vocal margins were evident on VLS examination with are correlated with CSL. However, the non-signicance on a few parameters was also found, concluding that few parameters were less suspectable to the temporary effects on vocal function. Youngsters who shout very loudly during club partiesConclusion. have throat pain, hoarseness, and breathiness following the party in our present study. Females have more prominent changes as compared to boys may be due to boys having more hyaluronic acid which prevents vocal folds from scarring. However, any signicant changes are not reported in just one day of exposure but if such a situation persists it may lead to permanent change altering their vocal range. It is thought that attending club parties once in a while may not be altering vocal symptoms but youngsters must abstain from continuing such activities in the long run, to avoid permanent vocal pathologies. Meanwhile, youngsters should follow vocal hygiene to avoid such vocal conditions.

<p>The advent of the Internet and social networks has reduced human and empathic relationships, consequently increasing virtual ones. Cyberspace offers the possibility of carrying out illegal acts with the perception of remaining unpunished. In this article we discussed the differences between crime and cybercrime which takes different forms within cyberspace such as cyberstalking, cyberbullying, online sexual offences and property crimes such as white-collar crimes. Furthermore, the evolution of criminal profiling in the digital age has been described and the profile of the cyber-criminal has been defined as outlined by the Italian State Police. The multiplication of criminal activities perpetrated through the web has led the Legislator to wonder about the most effective repressive methods to repress and try to ward off the numerous dangers that are wandering within cyberspace. The Italian legislator, through various legislative interventions, has introduced changes to the Penal Code as in article 612-bis, introducing in paragraph 2 an increase in punishment for the case in which the crime is committed through IT tools such as e-mail, SMS, chat malware and, above all, social networks. Also, the legislator included article 612-ter in the Penal Code to prosecute the illegal dissemination of sexually explicit images and videos. Finally, criminological research must consider that cybercrime has different variables than traditional crime and the evaluation of criminal behaviour should take into account the influence of the virtual dimension on the cognitive processes of the subjects.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0548/a.php" alt="Hit counter" /></p><a href="https://doi.org/10.5281/zenodo.3877668"><img src="https://zenodo.org/badge/DOI/10.5281/zenodo.3877668.svg" alt="DOI" /></a>

Unlike some current discourse on automediality, this essay eschews most of the analysis concerning the adoption or modification of avatars to deliberately enhance, extend or distort the self. Rather than the automedial enabling of alternative, virtual selves modified by playful, confronting or disarming avatars we concentrate instead on emerging efforts to present the self in hyper-realist, interactive modes. In doing so we ask, what is the relationship between traumatic forms of automediation and the affective impact on and response of the audience? We argue that, while on the one hand there are promising avenues for valuable individual and social engagements with traumatic forms of automediation, there is an overwhelming predominance of suffering as a theme in such virtual depictions, comingled with uncritically asserted promises of empathy, which are problematic as the technology assumes greater mainstream uptake.As Smith and Watson note, embodiment is always a “translation” where the body is “dematerialized” in virtual representation (“Virtually” 78). Past scholarship has analysed the capacity of immersive realms, such as Second Life or online games, to highlight how users can modify their avatars in often spectacular, non-human forms. Critics of this mode of automediality note that users can adopt virtually any persona they like (racial, religious, gendered and sexual, human, animal or hybrid, and of any age), behaving as “identity tourists” while occupying virtual space or inhabiting online communities (Nakamura). Furthermore, recent work by Jaron Lanier, a key figure from the 1980s period of early Virtual Reality (VR) technology, has also explored so-called “homuncular flexibility” which describes the capacity for humans to seemingly adapt automatically to the control mechanisms of an avatar with multiple legs, other non-human appendages, or for two users to work in tandem to control a single avatar (Won et. al.). But this article is concerned less with these single or multi-player online environments and the associated concerns over modifying interactive identities. We are principally interested in other automedial modes where the “auto” of autobiography is automated via Artificial Intelligences (AIs) to convincingly mimic human discourse as narrated life-histories.We draw from case studies promoted by the 2017 season of ABC television’s flagship science program, Catalyst, which opened with semi-regular host and biological engineer Dr Jordan Nguyen, proclaiming in earnest, almost religious fervour: “I want to do something that has long been a dream. I want to create a copy of a human. An avatar. And it will have a life of its own in virtual reality.” As the camera followed Nguyen’s rapid pacing across real space he extolled: “Virtual reality, virtual human, they push the limits of the imagination and help us explore the impossible […] I want to create a virtual copy of a person. A digital addition to the family, using technology we have now.”The troubling implications of such rhetoric were stark and the next third of the program did little to allay such techno-scientific misgivings. Directed and produced by David Symonds, with Nguyen credited as co-developer and presenter, the episode “Meet the Avatars” immediately introduced scenarios where “volunteers” entered a pop-up inner city virtual lab, to experience VR for the first time. The volunteers were shown on screen subjected to a range of experimental VR environments designed to elicit fear and/or adverse and disorienting responses such as vertigo, while the presenter and researchers from Sydney University constantly smirked and laughed at their participants’ discomfort. We can only wonder what the ethics process was for both the ABC and university researchers involved in these broadcast experiments. There is little doubt that the participant/s experienced discomfort, if not distress, and that was televised to a national audience. Presenter Nguyen was also shown misleading volunteers on their way to the VR lab, when one asked “You’re not going to chuck us out of a virtual plane are you?” to which Nguyen replied “I don't know what we’re going to do yet,” when it was next shown that they immediately underwent pre-programmed VR exposure scenarios, including a fear of falling exercise from atop a city skyscraper.The sweat-inducing and heart rate-racing exposures to virtual plank walks high above a cityscape, or seeing subjects haptically viewing spiders crawl across their outstretched virtual hands, all elicited predictable responses, showcased as carnivalesque entertainment for the viewing audience. As we will see, this kind of trivialising of a virtual environment’s capacity for immersion belies the serious use of the technology in a range of treatments for posttraumatic stress disorder (see Rizzo and Koenig; Rothbaum, Rizzo and Difede).Figure 1: Nguyen and researchers enjoying themselves as their volunteers undergo VR exposure Defining AutomedialityIn their pioneering 2008 work, Automedialität: Subjektkonstitution in Schrift, Bild und neuen Medien, Jörg Dünne and Christian Moser coined the term “automediality” to problematise the production, application and distribution of autobiographic modes across various media and genres—from literary texts to audiovisual media and from traditional expression to inter/transmedia and remediated formats. The concept of automediality was deployed to counter the conventional critical exclusion of analysis of the materiality/technology used for an autobiographical purpose (Gernalzick). Dünne and Moser proffered a concept of automediality that rejects the binary division of (a) self-expression determining the mediated form or (b) (self)subjectivity being solely produced through the mediating technology. Hence, automediality has been traditionally applied to literary constructs such as autobiography and life-writing, but is now expanding into the digital domain and other “paratextual sites” (Maguire).As Nadja Gernalzick suggests, automediality should “encourage and demand not only a systematics and taxonomy of the constitution of the self in respectively genre-specific ways, but particularly also in medium-specific ways” (227). Emma Maguire has offered a succinct working definition that builds on this requirement to signal the automedial universally, noting it operates asa way of studying auto/biographical texts (of a variety of forms) that take into account how the effects of media shape the kinds of selves that can be represented, and which understands the self not as a preexisting subject that might be distilled into story form but as an entity that is brought into being through the processes of mediation.Sidonie Smith and Julia Watson point to automediality as a methodology, and in doing so emphasize how the telling or mediation of a life actually shapes the kind of story that can be told autobiographically. They state “media cannot simply be conceptualized as ‘tools’ for presenting a preexisting, essential self […] Media technologies do not just transparently present the self. They constitute and expand it” (Smith and Watson “Virtually Me” 77).This distinction is vital for understanding how automediality might be applied to self-expression in virtual domains, including the holographic avatar dreams of Nguyen throughout Catalyst. Although addressing this distinction in relation to online websites, following P. David Marshall’s description of “the proliferation of the public self”, Maguire notes:The same integration of digital spaces and platforms into daily life that is prompting the development of new tools in autobiography studies […] has also given rise to the field of persona studies, which addresses the ways in which individuals engage in practices of self-presentation in order to form commoditised identities that circulate in affective communities.For Maguire, these automedial works operate textually “to construct the authorial self or persona”.An extension to this digital, authorial construction is apparent in the exponential uptake of screen mediated prosumer generated content, whether online or theatrical (Miller). According to Gernalzick, unlike fictional drama films, screen autobiographies more directly enable “experiential temporalities”. Based on Mary Anne Doane’s promotion of the “indexicality” of film/screen representations to connote the real, Gernalzick suggests that despite semiotic theories of the index problematising realism as an index as representation, the film medium is still commonly comprehended as the “imprint of time itself”:Film and the spectator of film are said to be in a continuous present. Because the viewer is aware, however, that the images experienced in or even as presence have been made in the past, the temporality of the so-called filmic present is always ambiguous” (230).When expressed as indexical, automedial works, the intrinsic audio-visual capacities of film and video (as media) far surpass the temporal limitations of print and writing (Gernalzick, 228). One extreme example can be found in an emergent trend of “performance crime” murder and torture videos live-streamed or broadcast after the fact using mobile phone cameras and FaceBook (Bender). In essence, the political economy of the automedial ecology is important to understand in the overall context of self expression and the governance of content exhibition, access, distribution and—where relevant—interaction.So what are the implications for automedial works that employ virtual interfaces and how does this evolving medium inform both the expressive autobiographical mode and audiences subjectivities?Case StudyThe Catalyst program described above strove to shed new light on the potential for emerging technology to capture and create virtual avatars from living participants who (self-)generate autobiographical narratives interactively. Once past the initial gee-wiz journalistic evangelism of VR, the episode turned towards host Nguyen’s stated goal—using contemporary technology to create an autonomous virtual human clone. Nguyen laments that if he could create only one such avatar, his primary choice would be that of his grandfather who died when Nguyen was two years old—a desire rendered impossible. The awkward humour of the plank walk scenario sequence soon gives way as the enthusiastic Nguyen is surprised by his family’s discomfort with the idea of digitally recreating his grandfather.Nguyen next visits a Southern California digital media lab to experience the process by which 3D virtual human avatars are created. Inside a domed array of lights and cameras, in less than one second a life-size 3D avatar is recorded via 6,000 LEDs illuminating his face in 20 different combinations, with eight cameras capturing the exposures from multiple angles, all in ultra high definition. Called the Light Stage (Debevec), it is the same technology used to create a life size, virtual holocaust survivor, Pinchas Gutter (Ziv).We see Nguyen encountering a life-size, high-resolution 2D screen version of Gutter’s avatar. Standing before a microphone, Nguyen asks a series of questions about Gutter’s wartime experiences and life in the concentration camps. The responses are naturalistic and authentic, as are the pauses between questions. The high definition 4K screen is photo-realist but much more convincing in-situ (as an artifact of the Catalyst video camera recording, in some close-ups horizontal lines of transmission appear). According to the project’s curator, David Traum, the real Pinchas Gutter was recorded in 3D as a virtual holograph. He spent 25 hours providing 1,600 responses to a broad range of questions that the curator maintained covered “a lot of what people want to say” (Catalyst).Figure 2: The Museum of Jewish Heritage in Manhattan presented an installation of New Dimensions in Testimony, featuring Pinchas Gutter and Eva SchlossIt is here that the intersection between VR and auto/biography hybridise in complex and potentially difficult ways. It is where the concept of automediality may offer insight into this rapidly emerging phenomenon of creating interactive, hyperreal versions of our selves using VR. These hyperreal VR personae can be questioned and respond in real-time, where interrogators interact either as casual conversers or determined interrogators.The impact on visitors is sobering and palpable. As Nguyen relates at the end of his session, “I just want to give him a hug”. The demonstrable capacity for this avatar to engender a high degree of empathy from its automedial testimony is clear, although as we indicate below, it could simply indicate increased levels of emotion.Regardless, an ongoing concern amongst witnesses, scholars and cultural curators of memorials and museums dedicated to preserving the history of mass violence, and its associated trauma, is that once the lived experience and testimony of survivors passes with that generation the impact of the testimony diminishes (Broderick). New media modes of preserving and promulgating such knowledge in perpetuity are certainly worthy of embracing. As Stephen Smith, the executive director of the USC Shoah Foundation suggests, the technology could extendto people who have survived cancer or catastrophic hurricanes […] from the experiences of soldiers with post-traumatic stress disorder or survivors of sexual abuse, to those of presidents or great teachers. Imagine if a slave could have told her story to her grandchildren? (Ziv)Yet questions remain as to the veracity of these recorded personae. The avatars are created according to a specific agenda and the autobiographical content controlled for explicit editorial purposes. It is unclear what and why material has been excluded. If, for example, during the recorded questioning, the virtual holocaust survivor became mute at recollecting a traumatic memory, cried or sobbed uncontrollably—all natural, understandable and authentic responses given the nature of the testimony—should these genuine and spontaneous emotions be included along with various behavioural ticks such as scratching, shifting about in the seat and other naturalistic movements, to engender a more profound realism?The generation of the photorealist, mimetic avatar—remaining as an interactive persona long after the corporeal, authorial being is gone—reinforces Baudrillard’s concept of simulacra, where a clone exists devoid of its original entity and unable to challenge its automedial discourse. And what if some unscrupulous hacker managed to corrupt and subvert Gutter’s AI so that it responded antithetically to its purpose, by denying the holocaust ever happened? The ethical dilemmas of such a paradigm were explored in the dystopian 2013 film, The Congress, where Robyn Wright plays herself (and her avatar), as an out of work actor who sells off the rights to her digital self. A movie studio exploits her screen persona in perpetuity, enabling audiences to “become” and inhabit her avatar in virtual space while she is limited in the real world from undertaking certain actions due to copyright infringement. The inability of Wright to control her mimetic avatar’s discourse or action means the assumed automedial agency of her virtual self as an immortal, interactive being remains ontologically perplexing.Figure 3: Robyn Wright undergoing a full body photogrammetry to create her VR avatar in The Congress (2013)The various virtual exposures/experiences paraded throughout Catalyst’s “Meet the Avatars” paradoxically recorded and broadcast a range of troubling emotional responses to such immersion. Many participant responses suggest great caution and sensitivity be undertaken before plunging headlong into the new gold rush mentality of virtual reality, augmented reality, and AI affordances. Catalyst depicted their program subjects often responding in discomfort and distress, with some visibly overwhelmed by their encounters and left crying. There is some irony that presenter Ngyuen was himself relying on the conventions of 2D linear television journalism throughout, adopting face-to-camera address in (unconscious) automedial style to excitedly promote the assumed socio-cultural boon such automedial VR avatars will generate.Challenging AuthenticityThere are numerous ethical considerations surrounding the potential for AIs to expand beyond automedial (self-)expression towards photorealist avatars interacting outside of their pre-recorded content. When such systems evolve it may be neigh impossible to discern on screen whether the person you are conversing with is authentic or an indistinguishable, virtual doppelganger. In the future, a variant on the Turning Test may be needed to challenge and identify such hyperreal simulacra. We may be witnessing the precursor to such a dilemma playing out in the arena of audio-only podcasts, with some public intellectuals such as Sam Harris already discussing the legal and ethical problems from technology that can create audio from typed text that convincingly replicate the actual voice of a person by sampling approximately 30 minutes of their original speech (Harris). Such audio manipulation technology will soon be available to anybody with the motivation and relatively minor level of technological ability in order to assume an identity and masquerade as automediated dialogue. However, for the moment, the ability to convincingly alter a real-time computer generated video image of a person remains at the level of scientific innovation.Also of significance is the extent to which the audience reactions to such automediated expressions are indeed empathetic or simply part of the broader range of affective responses that also include direct sympathy as well as emotions such as admiration, surprise, pity, disgust and contempt (see Plantinga). There remains much rhetorical hype surrounding VR as the “ultimate empathy machine” (Milk). Yet the current use of the term “empathy” in VR, AI and automedial forms of communication seems to be principally focused on the capacity for the user-viewer to ameliorate negatively perceived emotions and experiences, whether traumatic or phobic.When considering comments about authenticity here, it is important to be aware of the occasional slippage of technological terminology into the mainstream. For example, the psychological literature does emphasise that patients respond strongly to virtual scenarios, events, and details that appear to be “authentic” (Pertaub, Slater, and Barker). Authentic in this instance implies a resemblance to a corresponding scenario/activity in the real world. This is not simply another word for photorealism, but rather it describes for instance the experimental design of one study in which virtual (AI) audience members in a virtual seminar room designed to treat public speaking anxiety were designed to exhibit “random autonomous behaviours in real-time, such as twitches, blinks, and nods, designed to encourage the illusion of life” (Kwon, Powell and Chalmers 980). The virtual humans in this study are regarded as having greater authenticity than an earlier project on social anxiety (North, North, and Coble) which did not have much visual complexity but did incorporate researcher-triggered audio clips of audience members “laughing, making comments, encouraging the speaker to speak louder or more clearly” (Kwon, Powell, and Chalmers 980). The small movements, randomly cued rather than according to a recognisable pattern, are described by the researchers as creating a sense of authenticity in the VR environment as they seem to correspond to the sorts of random minor movements that actual human audiences in a seminar can be expected to make.Nonetheless, nobody should regard an interaction with these AIs, or the avatar of Gutter, as in any way an encounter with a real person. Rather, the characteristics above function to create a disarming effect and enable the real person-viewer to willingly suspend their disbelief and enter into a pseudo-relationship with the AI; not as if it is an actual relationship, but as if it is a simulation of an actual relationship (USC). Lucy Suchman and colleagues invoke these ideas in an analysis of a YouTube video of some apparently humiliating human interactions with the MIT created AI-robot Mertz. Their analysis contends that, while it may appear on first glance that the humans’ mocking exchange with Mertz are mean-spirited, there is clearly a playfulness and willingness to engage with a form of AI that is essentially continuous with “long-standing assumptions about communication as information processing, and in the robot’s performance evidence for the limits to the mechanical reproduction of interaction as we know it through computational processes” (Suchman, Roberts, and Hird).Thus, it will be important for future work in the area of automediated testimony to consider the extent to which audiences are willing to suspend disbelief and treat the recounted traumatic experience with appropriate gravitas. These questions deserve attention, and not the kind of hype displayed by the current iteration of techno-evangelism. Indeed, some of this resurgent hype has come under scrutiny. From the perspective of VR-based tourism, Janna Thompson has recently argued that “it will never be a substitute for encounters with the real thing” (Thompson). Alyssa K. Loh, for instance, also argues that many of the negatively themed virtual experiences—such as those that drop the viewer into a scene of domestic violence or the location of a terrorist bomb attack—function not to put you in the position of the actual victim but in the position of the general category of domestic violence victim, or bomb attack victim, thus “deindividuating trauma” (Loh).Future work in this area should consider actual audience responses and rely upon mixed-methods research approaches to audience analysis. In an era of alt.truth and Cambridge Analytics personality profiling from social media interaction, automediated communication in the virtual guise of AIs demands further study.ReferencesAnon. “New Dimensions in Testimony.” Museum of Jewish Heritage. 15 Dec. 2017. 19 Apr. 2018 <http://mjhnyc.org/exhibitions/new-dimensions-in-testimony/>.Australian Broadcasting Corporation. “Meet The Avatars.” Catalyst, 15 Aug. 2017.Baudrillard, Jean. “Simulacra and Simulations.” Jean Baudrillard: Selected Writings. Ed. Mark Poster. Stanford: Stanford UP, 1988. 166-184.Bender, Stuart Marshall. Legacies of the Degraded Image in Violent Digital Media. 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München: Wilhelm Fink, 2008. 7-16.Harris, Sam. “Waking Up with Sam Harris #64 – Ask Me Anything.” YouTube, 16 Feb. 2017. 16 Mar. 2018 <https://www.youtube.com/watch?v=gMTuquaAC4w>.Kwon, Joung Huem, John Powell, and Alan Chalmers. “How Level of Realism Influences Anxiety in Virtual Reality Environments for a Job Interview.” International Journal of Human-Computer Studies 71.10 (2013): 978-87.Loh, Alyssa K. "I Feel You." Artforum, Nov. 2017. 10 Apr. 2018 <https://www.artforum.com/print/201709/alyssa-k-loh-on-virtual-reality-and-empathy-71781>.Marshall, P. David. “Persona Studies: Mapping the Proliferation of the Public Self.” Journalism 15.2 (2014): 153-170.Mathews, Karen. “Exhibit Allows Virtual ‘Interviews’ with Holocaust Survivors.” Phys.org Science X Network, 15 Dec. 2017. 18 Apr. 2018 <https://phys.org/news/2017-09-virtual-holocaust-survivors.html>.Maguire, Emma. “Home, About, Shop, Contact: Constructing an Authorial Persona via the Author Website” M/C Journal 17.9 (2014).Miller, Ken. More than Fifteen Minutes of Fame: The Evolution of Screen Performance. Unpublished PhD Thesis. Murdoch University. 2009.Milk, Chris. “Ted: How Virtual Reality Can Create the Ultimate Empathy Machine.” TED Conferences, LLC. 16 Mar. 2015. <https://www.ted.com/talks/chris_milk_how_virtual_reality_can_create_the_ultimate_empathy_machine>.Nakamura, Lisa. “Cyberrace.” Identity Technologies: Constructing the Self Online. Eds. Anna Poletti and Julie Rak. Madison, Wisconsin: U of Wisconsin P, 2014. 42-54.North, Max M., Sarah M. North, and Joseph R Coble. "Effectiveness of Virtual Environment Desensitization in the Treatment of Agoraphobia." International Journal of Virtual Reality 1.2 (1995): 25-34.Pertaub, David-Paul, Mel Slater, and Chris Barker. “An Experiment on Public Speaking Anxiety in Response to Three Different Types of Virtual Audience.” Presence: Teleoperators and Virtual Environments 11.1 (2002): 68-78.Plantinga, Carl. "Emotion and Affect." The Routledge Companion to Philosophy and Film. Eds. Paisley Livingstone and Carl Plantinga. New York: Routledge, 2009. 86-96.Rizzo, A.A., and Sebastian Koenig. “Is Clinical Virtual Reality Ready for Primetime?” Neuropsychology 31.8 (2017): 877-99.Rothbaum, Barbara O., Albert “Skip” Rizzo, and JoAnne Difede. "Virtual Reality Exposure Therapy for Combat-Related Posttraumatic Stress Disorder." Annals of the New York Academy of Sciences 1208.1 (2010): 126-32.Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide to Interpreting Life Narratives. 2nd ed. Minneapolis: U of Minnesota P, 2010.———. “Virtually Me: A Toolbox about Online Self-Presentation.” Identity Technologies: Constructing the Self Online. Eds. Anna Poletti and Julie Rak. Madison: U of Wisconsin P, 2014. 70-95.Suchman, Lucy, Celia Roberts, and Myra J. Hird. "Subject Objects." Feminist Theory 12.2 (2011): 119-45.Thompson, Janna. "Why Virtual Reality Cannot Match the Real Thing." The Conversation, 14 Mar. 2018. 10 Apr. 2018 <http://theconversation.com/why-virtual-reality-cannot-match-the-real-thing-92035>.USC. "Skip Rizzo on Medical Virtual Reality: USC Global Conference 2014." YouTube, 28 Oct. 2014. 2 Apr. 2018 <https://www.youtube.com/watch?v=PdFge2XgDa8>.Won, Andrea Stevenson, Jeremy Bailenson, Jimmy Lee, and Jaron Lanier. "Homuncular Flexibility in Virtual Reality." Journal of Computer-Mediated Communication 20.3 (2015): 241-59.Ziv, Stan. “How Technology Is Keeping Holocaust Survivor Stories Alive Forever”. Newsweek, 18 Oct. 2017. 19 Apr. 2018 <http://www.newsweek.com/2017/10/27/how-technology-keeping-holocaust-survivor-stories-alive-forever-687946.html>.

No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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Introduction It has frequently been noted that ICTs and social networking applications have blurred the once-clear boundary between work, leisure and entertainment, just as they have collapsed the distinction between public and private space. While each individual has a sense of what “home” means, both in terms of personal experience and more conceptually, the following three examples of online interaction (based on participants’ interest, or involvement, in activities traditionally associated with the home: pet care, craft and cooking) suggest that the utilisation of online communication technologies can lead to refined and extended definitions of what “home” is. These examples show how online communication can assist in meeting the basic human needs for love, companionship, shelter and food – needs traditionally supplied by the home environment. They also provide individuals with a considerably expanded range of opportunities for personal expression and emotional connection, as well as creative and commercial production, than that provided by the purely physical (and, no doubt, sometimes isolated and isolating) domestic environment. In this way, these case studies demonstrate the interplay and melding of physical and virtual “home” as domestic practices leach from the most private spaces of the physical home into the public space of the Internet (for discussion, see Gorman-Murray, Moss, and Rose). At the same time, online interaction can assert an influence on activity within the physical space of the home, through the sharing of advice about, and modeling of, domestic practices and processes. A Dog’s (Virtual) Life The first case study primarily explores the role of online communities in the formation and expression of affective values and personal identity – as traditionally happens in the domestic environment. Garber described the 1990s as “the decade of the dog” (20), citing a spate of “new anthropomorphic” (22) dog books, Internet “dog chat” sites, remakes of popular classics such as Lassie Come Home, dog friendly urban amenities, and the meteoric rise of services for pampered pets (28-9). Loving pets has become a lifestyle and culture, witnessed and commodified in Pet Superstores as well as in dog collectables and antiques boutiques, and in publications like The Bark (“the New Yorker of Dog Magazines”) and Clean Run, the international agility magazine, Website, online book store and information gateway for agility products and services. Available online resources for dog lovers have similarly increased rapidly during the decade since Garber’s book was published, with the virtual world now catering for serious hobby trainers, exhibitors and professionals as well as the home-based pet lover. At a recent survey, Yahoo Groups – a personal communication portal that facilitates social networking, in this case enabling users to set up electronic mailing lists and Internet forums – boasted just over 9,600 groups servicing dog fanciers and enthusiasts. The list Dogtalk is now an announcement only mailing list, but was a vigorous discussion forum until mid-2006. Members of Dogtalk were Australian-based “clicker-trainers”, serious hobbyist dog trainers, many of whom operated micro-businesses providing dog training or other pet-related services. They shared an online community, but could also engage in “flesh-meets” at seminars, conferences and competitive dog sport meets. An author of this paper (Rutherford) joined this group two years ago because of her interest in clicker training. Clicker training is based on an application of animal learning theory, particularly psychologist E. F. Skinner’s operant conditioning, so called because of the trademark use of a distinctive “click” sound to mark a desired behaviour that is then rewarded. Clicker trainers tend to dismiss anthropomorphic pack theory that positions the human animal as fundamentally opposed to non-human animals and, thus, foster a partnership (rather than a dominator) mode of social and learning relationships. Partnership and nurturance are common themes within the clicker community (as well as in more traditional “home” locations); as is recognising and valuing the specific otherness of other species. Typically, members regard their pets as affective equals or near-equals to the human animals that are recognised members of their kinship networks. A significant function of the episodic biographical narratives and responses posted to this list was thus to affirm and legitimate this intra-specific kinship as part of normative social relationship – a perspective that is not usually validated in the general population. One of the more interesting nexus that evolved within Dogtalk links the narrativisation of the pet in the domestic sphere with the pictorial genre of the family album. Emergent technologies, such as digital cameras together with Web-based image manipulation software and hosting (as provided by portals like Photobucket and Flickr ) democratise high quality image creation and facilitate the sharing of these images. Increasingly, the Dogtalk list linked to images uploaded to free online galleries, discussed digital image composition and aesthetics, and shared technical information about cameras and online image distribution. Much of this cultural production and circulation was concerned with digitally inscribing particular relationships with individual animals into cultural memory: a form of family group biography (for a discussion of the family photograph as a display of extended domestic space, see Rose). The other major non-training thread of the community involves the sharing and witnessing of the trauma suffered due to the illness and loss of pets. While mourning for human family members is supported in the off-line world – with social infrastructure, such as compassionate leave and/or bereavement counselling, part of professional entitlements – public mourning for pets is not similarly supported. Yet, both cultural studies (in its emphasis on cultural memory) and trauma theory have highlighted the importance of social witnessing, whereby traumatic memories must be narratively integrated into memory and legitimised by the presence of a witness in order to loosen their debilitating hold (Felman and Laub 57). Postings on the progress of a beloved animal’s illness or other misfortune and death were thus witnessed and affirmed by other Dogtalk list members – the sick or deceased pet becoming, in the process, a feature of community memory, not simply an individual loss. In terms of such biographical narratives, memory and history are not identical: “Any memories capable of being formed, retained or articulated by an individual are always a function of socially constituted forms, narratives and relations … Memory is always subject to active social manipulation and revision” (Halbwachs qtd. in Crewe 75). In this way, emergent technologies and social software provide sites, akin to that of physical homes, for family members to process individual memories into cultural memory. Dogzonline, the Australian Gateway site for purebred dog enthusiasts, has a forum entitled “Rainbow Bridge” devoted to textual and pictorial memorialisation of deceased pet dogs. Dogster hosts the For the Love of Dogs Weblog, in which images and tributes can be posted, and also provides links to other dog oriented Weblogs and Websites. An interesting combination of both therapeutic narrative and the commodification of affect is found in Lightning Strike Pet Loss Support which, while a memorial and support site, also provides links to the emerging profession of pet bereavement counselling and to suppliers of monuments and tributary urns for home or other use. loobylu and Narratives of Everyday Life The second case study focuses on online interactions between craft enthusiasts who are committed to the production of distinctive objects to decorate and provide comfort in the home, often using traditional methods. In the case of some popular craft Weblogs, online conversations about craft are interspersed with, or become secondary to, the narration of details of family life, the exploration of important life events or the recording of personal histories. As in the previous examples, the offering of advice and encouragement, and expressions of empathy and support, often characterise these interactions. The loobylu Weblog was launched in 2001 by illustrator and domestic crafts enthusiast Claire Robertson. Robertson is a toy maker and illustrator based in Melbourne, Australia, whose clients have included prominent publishing houses, magazines and the New York Public Library (Robertson “Recent Client List” online). She has achieved a measure of public recognition: her loobylu Weblog has won awards and been favourably commented upon in the Australian press (see Robertson “Press for loobylu” online). In 2005, an article in The Age placed Robertson in the context of a contemporary “craft revolution”, reporting her view that this “revolution” is in “reaction to mass consumerism” (Atkinson online). The hand-made craft objects featured in Robertson’s Weblogs certainly do suggest engagement with labour-intensive pursuits and the construction of unique objects that reject processes of mass production and consumption. In this context, loobylu is a vehicle for the display and promotion of Robertson’s work as an illustrator and as a craft practitioner. While skills-based, it also, however, promotes a family-centred lifestyle; it advocates the construction by hand of objects designed to enhance the appearance of the family home and the comfort of its inhabitants. Its specific subject matter extends to related aspects of home and family as, in addition to instructions, ideas and patterns for craft, the Weblog features information on commercially available products for home and family, recipes, child rearing advice and links to 27 other craft and other sites (including Nigella Lawson’s, discussed below). The primary member of its target community is clearly the traditional homemaker – the mother – as well as those who may aspire to this role. Robertson does not have the “celebrity” status of Lawson and Jamie Oliver (discussed below), nor has she achieved their market saturation. Indeed, Robertson’s online presence suggests a modest level of engagement that is placed firmly behind other commitments: in February 2007, she announced an indefinite suspension of her blog postings so that she could spend more time with her family (Robertson loobylu 17 February 2007). Yet, like Lawson and Oliver, Robertson has exploited forms of domestic competence traditionally associated with women and the home, and the non-traditional medium of the Internet has been central to her endeavours. The content of the loobylu blog is, unsurprisingly, embedded in, or an accessory to, a unifying running commentary on Robertson’s domestic life as a parent. Miles, who has described Weblogs as “distributed documentaries of the everyday” (66) sums this up neatly: “the weblogs’ governing discursive quality is the manner in which it is embodied within the life world of its author” (67). Landmark family events are narrated on loobylu and some attract deluges of responses: the 19 June 2006 posting announcing the birth of Robertson’s daughter Lily, for example, drew 478 responses; five days later, one describing the difficult circumstances of her birth drew 232 comments. All of these comments are pithy, with many being simple empathetic expressions or brief autobiographically based commentaries on these events. Robertson’s news of her temporary retirement from her blog elicited 176 comments that both supported her decision and also expressed a sense of loss. Frequent exclamation marks attest visually to the emotional intensity of the responses. By narrating aspects of major life events to which the target audience can relate, the postings represent a form of affective mass production and consumption: they are triggers for a collective outpouring of largely homogeneous emotional reaction (joy, in the case of Lily’s birth). As collections of texts, they can be read as auto/biographic records, arranged thematically, that operate at both the individual and the community levels. Readers of the family narratives and the affirming responses to them engage in a form of mass affirmation and consumerism of domestic experience that is easy, immediate, attractive and free of charge. These personal discourses blend fluidly with those of a commercial nature. Some three weeks after loobylu announced the birth of her daughter, Robertson shared on her Weblog news of her mastitis, Lily’s first smile and the family’s favourite television programs at the time, information that many of us would consider to be quite private details of family life. Three days later, she posted a photograph of a sleeping baby with a caption that skilfully (and negatively) links it to her daughter: “Firstly – I should mention that this is not a photo of Lily”. The accompanying text points out that it is a photo of a baby with the “Zaky Infant Sleeping Pillow” and provides a link to the online pregnancystore.com, from which it can be purchased. A quotation from the manufacturer describing the merits of the pillow follows. Robertson then makes a light-hearted comment on her experiences of baby-induced sleep-deprivation, and the possible consequences of possessing the pillow. Comments from readers also similarly alternate between the personal (sharing of experiences) to the commercial (comments on the product itself). One offshoot of loobylu suggests that the original community grew to an extent that it could support specialised groups within its boundaries. A Month of Softies began in November 2004, describing itself as “a group craft project which takes place every month” and an activity that “might give you a sense of community and kinship with other similar minded crafty types across the Internet and around the world” (Robertson A Month of Softies online). Robertson gave each month a particular theme, and readers were invited to upload a photograph of a craft object they had made that fitted the theme, with a caption. These were then included in the site’s gallery, in the order in which they were received. Added to the majority of captions was also a link to the site (often a business) of the creator of the object; another linking of the personal and the commercial in the home-based “cottage industry” sense. From July 2005, A Month of Softies operated through a Flickr site. Participants continued to submit photos of their craft objects (with captions), but also had access to a group photograph pool and public discussion board. This extension simulates (albeit in an entirely visual way) the often home-based physical meetings of craft enthusiasts that in contemporary Australia take the form of knitting, quilting, weaving or other groups. Chatting with, and about, Celebrity Chefs The previous studies have shown how the Internet has broken down many barriers between what could be understood as the separate spheres of emotional (that is, home-based private) and commercial (public) life. The online environment similarly enables the formation and development of fan communities by facilitating communication between those fans and, sometimes, between fans and the objects of their admiration. The term “fan” is used here in the broadest sense, referring to “a person with enduring involvement with some subject or object, often a celebrity, a sport, TV show, etc.” (Thorne and Bruner 52) rather than focusing on the more obsessive and, indeed, more “fanatical” aspects of such involvement, behaviour which is, increasingly understood as a subculture of more variously constituted fandoms (Jenson 9-29). Our specific interest in fandom in relation to this discussion is how, while marketers and consumer behaviourists study online fan communities for clues on how to more successfully market consumer goods and services to these groups (see, for example, Kozinets, “I Want to Believe” 470-5; “Utopian Enterprise” 67-88; Algesheimer et al. 19-34), fans regularly subvert the efforts of those urging consumer consumption to utilise even the most profit-driven Websites for non-commercial home-based and personal activities. While it is obvious that celebrities use the media to promote themselves, a number of contemporary celebrity chefs employ the media to construct and market widely recognisable personas based on their own, often domestically based, life stories. As examples, Jamie Oliver and Nigella Lawson’s printed books and mass periodical articles, television series and other performances across a range of media continuously draw on, elaborate upon, and ultimately construct their own lives as the major theme of these works. In this, these – as many other – celebrity chefs draw upon this revelation of their private lives to lend authenticity to their cooking, to the point where their work (whether cookbook, television show, advertisement or live chat room session with their fans) could be described as “memoir-illustrated-with-recipes” (Brien and Williamson). This generic tendency influences these celebrities’ communities, to the point where a number of Websites devoted to marketing celebrity chefs as product brands also enable their fans to share their own life stories with large readerships. Oliver and Lawson’s official Websites confirm the privileging of autobiographical and biographical information, but vary in tone and approach. Each is, for instance, deliberately gendered (see Hollows’ articles for a rich exploration of gender, Oliver and Lawson). Oliver’s hip, boyish, friendly, almost frantic site includes the what are purported-to-be self-revelatory “Diary” and “About me” sections, a selection of captioned photographs of the chef, his family, friends, co-workers and sponsors, and his Weblog as well as footage streamed “live from Jamie’s phone”. This self-revelation – which includes significant details about Oliver’s childhood and his domestic life with his “lovely girls, Jools [wife Juliette Norton], Poppy and Daisy” – completely blurs the line between private life and the “Jamie Oliver” brand. While such revelation has been normalised in contemporary culture, this practice stands in great contrast to that of renowned chefs and food writers such as Elizabeth David, Julia Child, James Beard and Margaret Fulton, whose work across various media has largely concentrated on food, cooking and writing about cooking. The difference here is because Oliver’s (supposedly private) life is the brand, used to sell “Jamie Oliver restaurant owner and chef”, “Jamie Oliver cookbook author and TV star”, “Jamie Oliver advertising spokesperson for Sainsbury’s supermarket” (from which he earns an estimated £1.2 million annually) (Meller online) and “Jamie Oliver social activist” (made MBE in 2003 after his first Fifteen restaurant initiative, Oliver was named “Most inspiring political figure” in the 2006 Channel 4 Political Awards for his intervention into the provision of nutritious British school lunches) (see biographies by Hildred and Ewbank, and Smith). Lawson’s site has a more refined, feminine appearance and layout and is more mature in presentation and tone, featuring updates on her (private and public) “News” and forthcoming public appearances, a glamorous selection of photographs of herself from the past 20 years, and a series of print and audio interviews. Although Lawson’s children have featured in some of her television programs and her personal misfortunes are well known and regularly commented upon by both herself and journalists (her mother, sister and husband died of cancer) discussions of these tragedies, and other widely known aspects of her private life such as her second marriage to advertising mogul Charles Saatchi, is not as overt as on Oliver’s site, and the user must delve to find it. The use of Lawson’s personal memoir, as sales tool, is thus both present and controlled. This is in keeping with Lawson’s professional experience prior to becoming the “domestic goddess” (Lawson 2000) as an Oxford graduated journalist on the Spectator and deputy literary editor of the Sunday Times. Both Lawson’s and Oliver’s Websites offer readers various ways to interact with them “personally”. Visitors to Oliver’s site can ask him questions and can access a frequently asked question area, while Lawson holds (once monthly, now irregularly) a question and answer forum. In contrast to this information about, and access to, Oliver and Lawson’s lives, neither of their Websites includes many recipes or other food and cooking focussed information – although there is detailed information profiling their significant number of bestselling cookbooks (Oliver has published 8 cookbooks since 1998, Lawson 5 since 1999), DVDs and videos of their television series and one-off programs, and their name branded product lines of domestic kitchenware (Oliver and Lawson) and foodstuffs (Oliver). Instruction on how to purchase these items is also featured. Both these sites, like Robertson’s, provide various online discussion fora, allowing members to comment upon these chefs’ lives and work, and also to connect with each other through posted texts and images. Oliver’s discussion forum section notes “this is the place for you all to chat to each other, exchange recipe ideas and maybe even help each other out with any problems you might have in the kitchen area”. Lawson’s front page listing states: “You will also find a moderated discussion forum, called Your Page, where our registered members can swap ideas and interact with each other”. The community participants around these celebrity chefs can be, as is the case with loobylu, divided into two groups. The first is “foodie (in Robertson’s case, craft) fans” who appear to largely engage with these Websites to gain, and to share, food, cooking and craft-related information. Such fans on Oliver and Lawson’s discussion lists most frequently discuss these chefs’ television programs and books and the recipes presented therein. They test recipes at home and discuss the results achieved, any problems encountered and possible changes. They also post queries and share information about other recipes, ingredients, utensils, techniques, menus and a wide range of food and cookery-related matters. The second group consists of “celebrity fans” who are attracted to the chefs (as to Robertson as craft maker) as personalities. These fans seek and share biographical information about Oliver and Lawson, their activities and their families. These two areas of fan interest (food/cooking/craft and the personal) are not necessarily or always separated, and individuals can be active members of both types of fandoms. Less foodie-orientated users, however (like users of Dogtalk and loobylu), also frequently post their own auto/biographical narratives to these lists. These narratives, albeit often fragmented, may begin with recipes and cooking queries or issues, but veer off into personal stories that possess only minimal or no relationship to culinary matters. These members also return to the boards to discuss their own revealed life stories with others who have commented on these narratives. Although research into this aspect is in its early stages, it appears that the amount of public personal revelation either encouraged, or allowed, is in direct proportion to the “open” friendliness of these sites. More thus are located in Oliver’s and less in Lawson’s, and – as a kind of “control” in this case study, but not otherwise discussed – none in that of Australian chef Neil Perry, whose coolly sophisticated Website perfectly complements Perry’s professional persona as the epitome of the refined, sophisticated and, importantly in this case, unapproachable, high-end restaurant chef. Moreover, non-cuisine related postings are made despite clear directions to the contrary – Lawson’s site stating: “We ask that postings are restricted to topics relating to food, cooking, the kitchen and, of course, Nigella!” and Oliver making the plea, noted above, for participants to keep their discussions “in the kitchen area”. Of course, all such contemporary celebrity chefs are supported by teams of media specialists who selectively construct the lives that these celebrities share with the public and the postings about others’ lives that are allowed to remain on their discussion lists. The intersection of the findings reported above with the earlier case studies suggests, however, that even these most commercially-oriented sites can provide a fruitful data regarding their function as home-like spaces where domestic practices and processes can be refined, and emotional relationships formed and fostered. In Summary As convergence results in what Turow and Kavanaugh call “the wired homestead”, our case studies show that physically home-based domestic interests and practices – what could be called “home truths” – are also contributing to a refiguration of the private/public interplay of domestic activities through online dialogue. In the case of Dogtalk, domestic space is reconstituted through virtual spaces to include new definitions of family and memory. In the case of loobylu, the virtual interaction facilitates a development of craft-based domestic practices within the physical space of the home, thus transforming domestic routines. Jamie Oliver’s and Nigella Lawson’s sites facilitate development of both skills and gendered identities by means of a bi-directional nexus between domestic practices, sites of home labour/identity production and public media spaces. As participants modify and redefine these online communities to best suit their own needs and desires, even if this is contrary to the stated purposes for which the community was instituted, online communities can be seen to be domesticated, but, equally, these modifications demonstrate that the activities and relationships that have traditionally defined the home are not limited to the physical space of the house. While virtual communities are “passage points for collections of common beliefs and practices that united people who were physically separated” (Stone qtd in Jones 19), these interactions can lead to shared beliefs, for example, through advice about pet-keeping, craft and cooking, that can significantly modify practices and routines in the physical home. Acknowledgments An earlier version of this paper was presented at the Association of Internet Researchers’ International Conference, Brisbane, 27-30 September 2006. 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The Wired Homestead: An MIT Press Sourcebook on the Internet and the Family. Cambridge, MA: MIT Press, 2003. Citation reference for this article MLA Style Brien, Donna Lee, Leonie Rutherford, and Rosemary Williamson. "Hearth and Hotmail: The Domestic Sphere as Commodity and Community in Cyberspace." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/10-brien.php>. APA Style Brien, D., L. Rutherford, and R. Williamson. (Aug. 2007) "Hearth and Hotmail: The Domestic Sphere as Commodity and Community in Cyberspace," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/10-brien.php>.