[Autom. eng. transl.] It is common in the most recent literature to refer the phenomenon of social television to that form of media enjoyment that cultural studies have called "audiencing" (Fiske, 1992). It is a visible consumption, that is to say a public performance that shows the belonging to the widespread audience of a shared media event. Starting from this definition, the research questions are therefore oriented towards the rhythms, the modes and the dialectics involved in this performance of shared attention, in an attempt to outline the logic and motivations that support it. The following paragraphs will focus on the times, spaces and values involved in these visibility dynamics. First of all, the spatial dimension will be the object of discussion, in its dual structural and interactional nature. The visibility practices of social television are in fact hosted by a platform that has a precise material configuration and that, in this case, coincides with a social networking site supported by commercial interests. On this structural level the variable configuration of conversational patterns is grafted which gives rise to precise relational geographies, more or less stable over time. Attention will then focus on the temporality of social television, which increasingly coincides with a recovery of the value of live broadcasting and the contemporary use. Finally, the analysis will focus on the social and cultural value involved in sharing attention.
|Translated title of the contribution||[Autom. eng. transl.] Social television as a performance of attention|
|Title of host publication||Social Tv. Produzione, esperienza e valore nell'era digitale|
|Number of pages||23|
|Publication status||Published - 2015|
- audience studies
- social media
- social television