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Summary Current Trends in CIS Research - Lectures & Articles

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Complete summary of Current Trends in CIS Research. Both lectures and articles summarized.

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  • October 15, 2023
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  • 2021/2022
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Current Trends in CIS Research -
Lectures
Week 2: Analysing the multimodal complexity of social media (Janina Wildfeuer)

- Semiotic modes in social media postings
- How personal/professional accounts tell a story (create awareness of societal topics)
- Use of (audio)visual material

Example: Tweet Mark Rutte about Ukraine/Russia (in English)
- In the app: you can click on the photo’s
- Follow-up tweet in a thread instead of all the text in one post
Example: Instagram post about the same topic (in Dutch)
- Different pictures than on Twitter
- All text in one post
Example Facebook post Heineken:
- Picture is saying a lot
- Not much text in the post
Example video on Instagram stories (Reel)
- Short and simple video
Example TikTok

So many different communicative forms/situations cause multimodal challenges:
- Depictive media (not abstract)
- Different purposes (marketing, informing etc)
- Material from different genres, often narrative/documentary
- Various affordances (ways of using) (and constraints)
- High number of semiotic modes and interesting mode combinations

Which parts of the posting contribute to which meaning?
Which stories are told and how? How are products advertised?

“The affordances [...] are not exclusive properties of a single genre or set of genres. They are to do
with how people actually make use of them. [....] More often, the possibilities of social media genres
exaggerate the characteristics found in antecedent forms of communication.”
Page et al. (2014:18)

Methodological framework:
1. Communicative situations, media & modes (Bateman et al., 2017)
2. Interpersonal resources and subjectivity in photographs (and other artefacts) (Zappavigna,
2016)

Bateman et al. (2017: 8): “Multimodality is a way of characterising communicative situations
(considered very broadly) which rely upon combinations of different ‘forms’ of communication to be
effective”

1

, - We’re assuming that there are different modes that together express a certain meaning
- It is not accepted to only look at the words: what else is important in the communicative
form/situation?
Example: poster ‘don’t eat in lecture room’
Canvas: virtual carrier (the room where the poster hangs in)  the locus of semiotic activity (where it
is located)
Sub canvas: the paper it is printed on
Genre space: informative situation in a college room
Activities, semiotic modes, what others have been doing about it, perform the actual analysis




Communicative situation: necessary conditions
Medium: higher entity: every medium makes available a certain number of semiotic modes, every
medium has his own semiotic mode

 A medium is best seen as a historically stabilised site for the deployment and distribution of some
selection of semiotic modes for the achievement of varied communicative purposes

 Sorting out the media and its canvases is the first key to being able to bring organisation even to
very complex situation

Bateman et al. models:
Interpretation
- Ergodic: the amount of work recipient has to do to interpret it, it is mutable ergodic if the
recipient is part of the communicative situation

- static – dynamic ((re)presentation temporality)
- 2D – 3D ((re)presentation space)
- permanent – fleeting (transience)
- observer – participant (role)

 Producer has more control than consumer about the canvas: they can choose what is in there




2

, Example Instagram post Mark Rutte:
- Static
- Permanent
- Linear (image + text) (sequential)
- Ergodic (the same for everyone)/immutable (unchanging)/mutable ergodic

Canvas: Instagram post:
- Content
- Picture
- Text
- interface (like button for example)
- commentary function
 it is not just about the post alone

Canvas: Instagram Story
- Asymmetric
- Dynamic
- Fleeting
- Linear
- With observers/participants
- Micro-ergodic

 As communicative situations become more complex, perhaps drawing on new technological
capabilities and combinations of meaning-making strategies will prove crucial (what is done with the
material?)

Possible methods:
- user interfaces
- the role of producers
- filters


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