Journal of Digital Media and Interaction

Emotion and Cognition in Engagement

Bullshit receptivity: what matters is who said it, not what is said

Abstract The spread of political disinformation remains a problem for democracy. In a digital universe surrendered to the dominance of social media, motivated political reasoning can be an ally of disinformation in general. Our exploratory study is a first approach, in Portugal, to the analysis of receptivity to bullshit. The main objective is to verify how political and partisan orientation can influence the level of receptivity to pseudo-profound bullshit. We used a survey (n = 268) to measure participants' partisanship and ideological orientation and to identify possible political and partisan (a)symmetries regarding receptivity to pseudo-profound bullshit. Our findings revealed that individuals are less receptive to pseudo-profound bullshit attributed to political leaders than when the source is anonymous. Furthermore, partisanship, as motivated reasoning, can determine how respondents evaluate information. We found that the level of receptivity to pseudo-profound bullshit is dependent on the political alignment of the source for left and right supporters. In addition to partisan bias, our results show that people with lower levels of education are more receptive to bullshit in general, which reinforces the need to invest in digital literacy to combat disinformation.

WandaVison e os Processos Cognitivos na Produção Crítica e Criativa do Fandom Brasileiro no Twitter

Resumo Este artigo tem o objetivo de analisar os processos cognitivos que estão em operação nos comentários publicados no Twitter no dia do lançamento dos episódios Filmed Before a Live Studio Audience e Don't Touch That Dial de estreia da série WandaVision (Disney+, 2021). Para a discussão desta questão, analisamos sob a ótica dos estudos de Feuerstein et al. (2014), sobre a modificabilidade cognitiva estrutural, os conteúdos compartilhados por oito perfis gerenciados pelo fandom brasileiro dedicado ao universo da trama. Os estudos realizados a partir do final da década de 1990 no âmbito da ficção seriada televisiva estadunidense ressaltam o processo de complexificação das tramas (Mittell, 2015; Jost, 2016). Neste contexto, Johnson (2005) afirma que a cultura popular contemporânea exige maior esforço cognitivo do público. A proposta teórica do autor apresenta um diálogo direto com o conceito de modificabilidade cognitiva estrutural (MCE) de Feuerstein et al. (2014). Conclui-se que além de reforçarem e aprofundarem os pontos de amplo universo ficcional da Marvel, os fãs brasileiros estabelecem correlações entre as telenovelas e a série, ressignificando a trama.

Abstract This paper intends to analyze the cognitive processes operating on comments published on Twitter on the day WandaVision’s (Disney+, 2021-) two episodes (“Filmed Before a Live Studio Audience” and “Don't Touch That Dial”) were released. To discuss this issue, we used Feuerstein et al.’s (2010) studies about SCM as a lens to analyze content shared by eight Brazilian fan accounts dedicated to the WandaVision universe. Studies conducted since the late 1990s in the scope of televised serialized fiction highlight the process of plot complexification (Mittell, 2015; Jost, 2016). Working from this context, Johnson (2012) argues that popular culture requires greater cognitive effort from the audience. Johnson’s (2012) theoretical approach presents direct dialogue with Feuerstein et al.’s (2014) concept of structural cognitive modifiability (SCM). It is concluded that in addition to reinforcing and deepening the points of the broad fictional universe of Marvel, Brazilian fans establish correlations between the telenovelas and the series, giving new meaning to the plot.

Facebook’s Dark Pattern Design, Public Relations and Internal Work Culture

Abstract Facebook inc. (now Meta Platforms) has been a target of several accusations regarding privacy issues, dark pattern design, spreading of disinformation and polarizing its users. Based on several leaked documents, the company’s public relations have often contradicted with its internal discussions and research. This study examines these issues by analyzing the leaked documents and published news articles. It outlines the dark patterns that the company has applied to their platform’s functionality, and discusses how they promote toxic behavior, hate speech and disinformation to flourish on the platform. The study also discusses some of the discrepancies between Facebook inc.’s public relations and internal work culture and discussions.

Exploring the affordances of popular private Facebook groups for women-only in Egypt

Abstract In Egypt, the creation and usage of private Facebook groups for women-only is vastly popular. Despite scholarship on women’s social media use, research examining the emergence of online women communities, particularly in the Middle East and North Africa region, is scarce. This article draws upon a case study of five popular Facebook groups for women-only, which includes data collected from observation of the Facebook groups’ features, twelve semi-structured face-to-face with Facebook group creators and members, and archival content. It uses the conceptual framework of Affordances to account for the mutual influence of the Facebook groups’ structure, their users’ perceptions, and their social context to understand why and how Facebook group creators and members use these Facebook groups. Results show that Facebook group creators and members perceive Facebook groups as safe spaces to express their personal and social distresses due to their privacy and exclusivity to women. These collective experiences have led to the manifestation of these Facebook groups as self-care spaces where FB group creators provide their members with information and entertainment to improve their health and well-being. Concurrently, FB group creators embarked on entrepreneurial practices by collaborating with brands and entities to provide these services.

Fact-checking engagement. Analysis of the most viewed videos of Ibero-American fact-checkers on YouTube in 2021

Resumen En los últimos años la desinformación ha supuesto un desafío para la sociedad. Ante este reto, las iniciativas dedicadas a la verificación de datos, o fact-checkers, se han convertido en una herramienta esencial para certificar la veracidad de los contenidos publicados. Para desarrollar su labor estas organizaciones utilizan las redes sociales para difundir sus contenidos. Esta investigación tiene como objetivo estudiar la actividad en YouTube de 11 los fact-checkers iberoamericanos ligados a la International Fact-Checking Network (IFCN) que poseen cuenta en esta plataforma durante el año 2021. En este estudio se realiza un análisis de contenido cuantitativo con el fin de determinar cuál es el engagement de los vídeos que han captado mayor atención de los usuarios en base al volumen de visualizaciones, me gusta y comentarios recibidos. Los resultados constatan una gran disparidad en términos de engagement entre los fact-checkers, que varían en gran medida en función del país al que pertenece cada verificador.

Abstract In recent years, disinformation has been a challenge for society. Faced with this challenge, initiatives dedicated to data verification, or fact-checkers, have become an essential tool to certify the veracity of published content. To carry out their work, these organizations use social networks to disseminate their content. The objective of this research is to study the activity on YouTube of 11 Ibero-American fact-checkers linked to the International Fact-Checking Network (IFCN) who have an account on this platform during the year 2021. In this study, a quantitative content analysis is carried out with to determine the engagement of the videos that have captured the most attention from users based on the volume of views and interactions collected. The results show a great disparity in terms of viewing and engagement, which vary greatly depending on the country to which each verifier belongs.

Emoções e interpretações: proposta de um artefacto educacional em média-arte digital

Resumo Este texto apresenta o artefacto "Emotions to Scenes" como proposta em média-arte digital para aplicação em contexto escolar. O objetivo é refletir sobre o problema ou conflito das interpretações feitas sobre imagens recebidas e associadas às emoções, testando o posicionamento emocional dos utilizadores em relação a outros que usufruíram da mesma experiência. Permite, pois, verificar se a interpretação de cada um converge ou diverge da dos outros. Numa época tão mediática como a atual, na qual constantemente se recebem imagens em movimento com mensagens provocadoras da sensibilidade emocional dos recetores, o artefacto oferece uma experiência em torno de tais estímulos visuais. Para tal, e depois de apresentar o enquadramento teórico, descrevemos o design do Artefacto, a sua conceção criativa em média-arte digital, o processo de instalação artística e o contexto de exposição e contacto com o público. Por último, enunciamos a proposta de aplicação às práticas promovidas no âmbito do Plano Nacional de Cinema (PNC). Consideramos, por isso, que o "Emotions to Scenes", tendo a génese no ambiente da média-arte digital, também pode ser um artefacto educacional, enquanto recurso didático promotor de reflexões no quadro das literacias para os media, no contexto das atuais práticas e estilos de vida online.

Abstract This text presents "Emotions to Scenes" as a digital media-art artefact for application in a school context. The goal is to reflect on the conflict of interpretations based on the images received and associated with emotions, testing the user’s emotional positioning vis-à-vis those who share the same experience. Thus, it allows verification on whether each user’s interpretation converges or diverges from that of other users. In an age as mediatic as the present, with moving images constantly received, and messages that incite the emotional sensitivity of the receptors, the artefact offers an experience on such visual stimuli. To this purpose, and after presenting the theoretical framework, we describe the design of the artefact, its creative design in digital media-art, the artistic installation process, the context of exhibition, including the contact with the public. Finally, we propose its application to the practices promoted within the scope of the Portuguese National Film Plan (PNC). We therefore consider that "Emotions to Scenes", although having its genesis in the digital media-art environment, can also be an educational artefact, namely as a didactic resource contributing to promote reflections in the context of media literacies in the light of current online practices and lifestyles.