Multimodal Semiotics and Collaborative Design
Multimodal Semiotics and Collaborative Design
Multimodal Semiotics and Collaborative Design
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
the four Moons group, a few members had knowledge of <strong>and</strong> experience with The SIMS, an<br />
interactive game-like social world where avatars <strong>and</strong> their homes can be customized <strong>and</strong> social<br />
relations can be established. In a discussion between the Venus <strong>and</strong> the four Moons group<br />
interview, students argued why SL is not a game like SIMS, <strong>and</strong> how come it is not as interesting as<br />
online social media platforms such Facebook. For RUT from the group, SL is not a game because<br />
“you can create something on your own”, while she also mentions simpler avatar-creation options<br />
in games such as SIMS. For AGN <strong>and</strong> RUT, the importance of freedom to create is to provide a<br />
chance to be ‘unique’ <strong>and</strong> ‘different’. However, for some of the workshop students, SL was indeed a<br />
‘boring’ place where they could not see the point of presence <strong>and</strong> participation, <strong>and</strong> were not open<br />
to socializing with RL characters concealed behind avatars as anonymous representations. In<br />
another discussion between Superheroes <strong>and</strong> Supervillains group, students argued how come SL<br />
feels ‘boring’, <strong>and</strong> MAJ explained how she felt about SL in a frequently mentioned way: “It’s not<br />
boring when we had something to do, when we meet, when we have to do stuff.” For most<br />
students, a significant challenge was not being able to socialize with people in ways that they are<br />
used to doing online. What was visible in the group discussions is that students’ experiences with<br />
other digital media platforms, with which they have more familiarity, affect their experiences, <strong>and</strong><br />
often lead them to compare the two platforms in relation to their media practices. Students also<br />
often compare SL to Facebook <strong>and</strong> other popular social media. RUT comments on importance of<br />
social networking as: “If you have lot of friends, like a broad social network in SL, then you’ll get<br />
back to SL. You have new friends. For new friends that you can only see in SL, maybe you’ll come<br />
back again.” Whereas some students comment on the lack of real-world information on avatar<br />
profiles.<br />
In SL, more often than not, user are represented only by their avatars’ visual characteristics <strong>and</strong><br />
their profile pages which lists their interests, groups <strong>and</strong> favorite locations, but not necessarily<br />
their RL identities, if at all. On the other h<strong>and</strong>, the co-designers of the other two other projects<br />
were more successful at tapping the social environment as a resource, such as the hiring of<br />
outsourced builders in SL or the way PAL design team met in SL only through their inworld<br />
identities. The efficient use of inworld knowledge resources <strong>and</strong> the integration of other external<br />
resources to SL depend heavily on the co-designers’ intentions, motivations, as well as their sociotechnical<br />
capabilities in SL. This perspective links the prior sections of analysis to the next section,<br />
where such personal <strong>and</strong> cultural differences <strong>and</strong>/or similarities reflected on the analysis of the<br />
collaborative design processes, <strong>and</strong> the practices of the co-designers, in which they use these<br />
platforms for their specific purposes.<br />
171