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Virality In Digital Media Research Assignment Paper (Essay Sample)


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What does virality mean in the context of digital media? Why making content go viral seems to be so desirable?
The following is some set reading that was required of my course teacher. You will need to reference the 2 set readings provided below. And if possible reference one more from the additional reading section. Set Reading: New Media, A Critical Introduction, eds. Martin Lister at al. Sections 3.13. "The Long Tail" and 3.14 "Going Viral" pp.197-202 Henry Jenkins, "If It Doesn't Spread, It's Dead", Part I and II, 2009; Additional reading: Tony D. Sampson, Virality: Contagion Theory in the Age of Networks, Minneapolis: University of Minnesota Press, 2012. Limor Shifman, Memes in Digital Culture, MIT Press, 2013. Jussi Parikka, ‘Contagion and Repetition: On the Viral Logic of Network Culture', ephemera: theory and politics in organization 7.2 (2007): 287-308.
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The digital world is having a daily revolution which is primarily caused by social media. For close to every day, you will hear of millions of people engaging in something new in the online social platforms. The uproar has made venture capitalist investors scramble to invest in social media companies. Manufacturers of devices that support social media platforms are continuously improving and sophisticating their gadgets to maintain the hyped social media atmosphere. In the world, there has been significant technological advancement which allows companies to share information, content and services in a conveniently fast and interactive manner. Today, there are millions of people who engage in social media platforms. This has changed the mode of marketing products, for instance, viral marketing.
Viruses in the digital media similarly spread via the data sphere to biological viruses. The only difference is that instead of the viruses circulating through a circulatory system, they spread through the media space network. A media virus can be an event of any kind, a technological invention, musical riff, sex scandal, or even a visual image. However, it has not been possible to describe what a viral media is adequate. One cannot be able to tell why an individual message goes viral. Nonetheless, it is clear that, just like any art form, the appeal of a viral media lies in the eyes of a beholder. It is acceptable to say that the ease of spreading a viral media is a measure of the message's strength. Again, for a message to go viral, it has to go to the right people in the community. Rushkoff explains that a media virus is a Trojan horse that secretly slips information to us. He argues that the information may be embedded or coded in a form that compels people to pass and share it. In the process, the embedded meaning is passed on to others as it infects and spreads. The spread of the message may occur with or without the user's consent and perhaps against their will. Thus, people are tricked to into passing coded message while circulating coercive content. This encoded content is brand messages engraved at the bottom of viral videos. Rushkoff and others suggest that these messages include memes.
The meme possesses three characteristics: fecundity which is the power to produce copies of themselves, the fidelity which is the ability to maintain the information contained in them as they move from one mind to the other and finally longevity which is the fact that memes which live longer stand a better chance of being copied. Therefore, a meme is an idea at the middle of virality where rational ideas replicate themselves as they move from mind to mind. Hence, it is a unit of information which when contained in mind; it is capable of influencing other events like duplicating itself. The idea of meme was conceived way before the rise of the web or internet. It is acknowledged as a way of talking about the quick dispersion of information and swift spread of ideas which personalize the digital age.
Vital to the challenges of both the image and the media infection models is a specific disarray about the part individuals play in going along media content. From the beginning, memetics has experienced a disarray about the idea of the organization. Not at all like genetic elements, culture is not in any significant sense self-recreating - it depends on individuals to push, create and manage it. The expression "culture" begins from the similitude of horticulture: the similarity was of developing the human personality much as one develops the land. Culture in this manner speaks to the state of human will and office upon nature. Societies are not something that transpires; they are something we all make. Positively any individual can be impacted by way of life which encompasses them, by the mold, media, discourse and thoughts that fill their day by day life; however, people make their particular commitments to their societies through the decisions which they make. The dialect of memetics, notwithstanding, strips aside the idea of human organization.
Procedures for social adjustment are more mind boggling than the notion image flow makes out. To be sure, hypotheses for understanding social take-up must consider two elements not firmly considered by memetics: human decision and the medium through which these thoughts are flawed. Dawkins composes not about how "individuals secure thoughts" but rather about how "thoughts get individuals." Every day people make and follow a numerous number of thoughts that are in reality liable to increase any profound footing inside a culture. After some time, just a substantially more modest number of expressions, ideas, pictures, or stories survive. This winnowing down of social choices is the item not of the quality of specific thoughts but rather of quantity; many people choose what thoughts to reference, which to impart to each other, choices in a given view of a scope of various motivation and interests long ways past how convincing individual thought might be. Maybe a couple of the thoughts get transmitted in anything like their unique shape: people adjust, change, and modify them on the fly because of a scope of various nearby conditions and individual needs.
Media virality, or the limit with regards to spreading of media quickly through online spaces, varies from online images. Online images can be characterized as media that can be diffused and have been mocked as developing images which later on are altered and released into the web as images. Memes that go viral are a type of media that can be spread, but still, which delighted in gigantic ubiquity over a particular timeframe, for example, since the transfer of Psy's Gangnam Style to YouTube, it has had over 2 billion perspectives. which. Albeit greatly mainstreamed for a brief span, such media like tend to wind down and at last stop being viral. Web images, be that as it may, hold on because of the dynamic cooperation among individuals from advanced participatory customs. Video images are likely to encounter a comparable quick and gigantic prevalence before an inevitable decrease in remixes and emphases of remixes, picture large scale images appear to have a more prominent continuance. Their fortitude is likely because of the simplicity through which individuals of participatory automated culture can interact and share picture full-scale images. Confirmation of the fortitude of picture large scale images enables clients to alter and spare picture macros.
Meme images are a sort, but not standard, of online correspondence and are curious of participatory computerized traditions described particularly by an office of utilization and creation. Kamberlis assists this point by recognizing that writings of different sorts are created, duplicated, disseminated, and gotten by their type. As Milner notes, "images are popular culture ancient rarities [and as such] they can give understanding into how "ordinary" media writings entwine with open talks" (p. 9). Web images begin in the upkeep mode as media that can be spread. Without spreadable memes, the image can't survive as a type of correspondence. Image as sort is reliant on spreadable media. Jenkin instituted this term as an ideal expression for an image, apparently to delineate disappointment with the organic illustration. It is clarified that; spreadable media infer penetration through interpersonal organizations. When specialists in the advanced culture modify media that can be spread, the class forms facilitate into what we refer to as new image
At the point when spreadable media are adjusted, remixed, caricatured, et cetera, they turn into the new image. Its attributes incorporate viral spread and a level of ubiquity among individuals from participatory computerized culture. Notwithstanding, new images vary from what is usually alluded to as Internet images. Developing images are changed spreadable media yet are not iterated and remixed further as isolated commitments. A remix or change turns into a different commitment when mindfulness, dissemination, and adjustment achieve a minimum amount (however equivocal, this ought to be comprehended as a hypothetical clarification for a continuous marvel). Gary Brolsma satirize O-Zone's melody in his lip-synced execution. As an eminent image, it rapidly spread internet inciting further emphases and remix. Some spreadable media which are changed may stay stationary as eminent images
Against cultural and socially essential messages from culture, sticking is developing images. The method of reasoning for their incorporation depends on our meaning of new images as being modified media that can be spread speaking to the explanation method in the class advancement of online images. Culture sticking is a repurposing of a referred to picture, for example, a corporate logo and mixes fundamental viewpoints on standard trademarks and logos. Subverting, and publicizing, is a related idea which looks to inspire subjective cacophony through the deliberate subversion of a notice by including politically inspired feedback or parody, however, keeping up the most unmistakable components.
When the word new media emerged, from the late 1980s, the media world began to take a different turn. Communications began to appear different, and this did not exempt any sector in the communication world. However, the time of change occurring was different from one medium to the other. This was the situation in photography, printing, television and even telecommunication. At the same time, each media was still undergoing some cultural, institutional or technological development. No media was at a standstill.
In the world of viral marketing, social media platforms like twitter have boosted persuasive viral marketing. It is evident that cust...
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