1. Reality and its relationship to media Presence, identification, realism

2. How do we think about reality? It seems so obvious that we never really give it much thought Two major concerns about reality are: – Our theory of it (ontology) – How we come to know it (epistemology)

3. What is reality? The objectivist stance, which most Americans accept, is that there is a definite, physical world out there regardless of our perception of it. That world has definable features and runs according to a set of physical laws that do not vary based on our actions or perceptions of it. – If a tree falls in the forest and no one is there, it still makes a sound.

5. The less-commonly accepted subjectivist stance says that reality is in our heads and the nature of some external world is indeterminate, if there is one at all. – Consciousness defines reality, and if a tree falls in the forest and no one is there to hear it, there is no sound. More importantly, if there is no one there there is no tree or forest, either.

7. How do we come to know reality? Objectivists state that our senses react predictably and effectively to real stimuli in ways that allow us to come to understand the world around us. Experience drives our understanding, which allows us over time to abstract from experience to theory about the world, which is then tested and rewritten, etc.

8. Peggy Vaughan

10. Subjectivists argue that reality is constructed through imagination, interaction with the physical world, or social interaction. Reality is a product, not a definite external ‘thing.’

11. Practically speaking From a cognitive information processing standpoint, we have two things interacting that produce reality: Sensory input, which is actually digital information flowing from our receptors to our brains, and Theories about what the data represent, stored in memory, based on prior experiences and thoughts

12. But Senses can mislead Theories can be wrong

18. Idealization

21. Abstraction

24. Realism

26. Mediated reality All content that reaches us through some form of mechanical mediation is at least a distorted view of a natural reality if not a construction of reality itself – No form of mediation reflects the original content exactly Framing Amplification Distortion Inclusion/exclusion Emphasis Color Etc.

27. The experience of mediation—that is, the perception that the content is not as it would be if the audience member were ‘really there’ is a variable—and it varies widely

28. The experience of mediation The experience of mediation is not part of the sensory input—it is based on the schema held in long-term memory that “explain” any new information reaching the brain

29. Schema of mediation Mediation schema can be said to be based on two somewhat independent features of the experience of exposure to mediated content— – Formal features of the exposure Technology Situation – Content features Narrative fidelity Context

30. Content features The ‘realism’ of a particular character, or story, is part of the craft of storytelling, production, etc. The actual level of realism desired is not always high – The content producer may wish to limit the realism of a character or story for creative reasons – Knowing how to produce a realistic portrayal is a valuable art

31. New technologies New technologies have allowed content producers to generate stories, etc. that provide physical features experienced as more and more ‘real’ – The “Holy Grail” of the gaming industry is to reach the level where the player experiences the game as though she were actually living it Presence

32. Physical features that enhance realism Field of vision – The less the peripheral vision, ambient sound intrudes, the more ‘real’ the experience seems to be IMAX VR helmet Sound – Quiet in physical surroundings during exposure – Inclusion or exclusion of music – Background noise within the video, etc.

36. Physical features Image complexity/fidelity with experience – The more an image seems like visual stimuli experienced in real life, the greater the realism of the experience 3D v. 2D Animated characters v. living characters Perspective Character movement

37. Roderick Munday

41. Point of view Single v. multiple Spectator – Omniscient – Observer Actor – First person shooter

43. Physical features Interactivity – Does the medium/content adjust to the audience member’s physical action? – Propriocentrism

44. Sensory richness Haptics – Touch, vibration, etc.

45. Content features What indicators do audience members use to determine whether the content is ‘real’?

46. Busselle’s dimensions

47. HallBusselle PlausibilityPlausibiliy TypicalityProbability Factuality Magic Window Social Realism InvolvementIdentity Narrative consistency Perceptual persuasiveness Utility

48. Magic Window Very young children treat TV as a ‘magic window’ that allows them to see real people/animals/creatures in other places. That is, they think the characters are real rather than actors playing roles, that life goes on on Sesame Street while we are not watching, etc.

49. Plausibility v. probability As kids grow up, the tendency to judge the realism of programs shifts from their plausibility—whether or not they could happen—to their probability—how likely that the things portrayed would happen or would be encountered in real life by the audience member. Probability and social realism (whether the depiction is like real life) are the most common sources of reality judgments among college students.

50. Identification Audience members interact with characters and people onscreen in a number of ways. Audience members may treat on-screen people or characters as real when they are only fictional characters, may fantasize that they are the characters, or may perceive a real-world relationship with either the character or the actor. These varied responses tend to enhance the realism of the experience of media consumption.

51. Identification or involvement If audience members are emotionally taken with a presentation they experience it as more real. – This can happen even though they realize that the context/narrative is fantastic Involvement with at least one character has the impact of increasing the feeling of realism

52. Emotional involvement Recent scientific discoveries about human brain mechanics indicate that we automatically share experiences with people we observe – Emotional experience is one of the most compelling – Media content is created specifically to bring out such reactions among audience members Reaction to facial representations of emotion http://www.pbs.org/wgbh/nova/sciencenow/3204/01.ht ml http://www.pbs.org/wgbh/nova/sciencenow/3204/01.ht ml

53. Identification Parasocial interaction Liking, similarity, affinity Imitation Nature of process Emotional and cognitive, alters state of awareness InteractionalAttitudeBehavior Basis Understanding and empathy Attraction Perception of character and self Modeling Positioning of viewer As character As self As learner (self as other) Associated phenomena Absorption in text, emotional release Attachment to character and text, keeping company Fandom, realism Learning, reinforcement Positioning of viewer As character As self As learner (self as other) Cohen, 2006

54. Narrative fidelity Are actions, events, and characters presented in ways that the audience member accepts as logical or at least plausible? – This will vary with a range of expectations brought to the experience by the audience member. This can be a feature of even fantastic narratives – For example, the behavior of characters in apocalyptic sci-fi stories may be judged as ‘realistic’ if it conforms to the physical rules and behavioral expectations of that world.

55. Busselle Program quality Program richness Program quality Program richness Viewing motives—viewing for instruction leads to higher evaluation of reality

56. Shapiro and Chock (1998) concluded that audience members compared the content they observed to a prototype for that class of observation. – Genre

57. ... studies of immersion in computer games argue that children use existing schemas of reality to understand and read meaning into the hypertexts of computer games

58. Also, arguing that aesthetic pleasure of immersion and engagement relies on the participant acknowledging and understanding the differences between reality and the illusions of hyperreality. The notion of “gameplay” requires a balance of immersion in “play” (fantasy) and acceptance of “game” (its structure and organization in space and time) It is only at this stage when a participant experiences a state of “flow” where “self-consciousness disappears, perceptions of time become distorted”, and one is completely absorbed in concentration

59. However, even when in such a state of flow where participants report a sensation of exiting real time and reality, they must also retain full awareness of the game and its structure, rules, and constraints, or the game will end