PRESENTATIONS AND Dr.

Will
Kurlinkus
FINALS
WEDNESDAY MEET WITH
ME
 SPEECH REQUIREMENTS

8 minutes +/- 45 seconds

Include an intriguing title (click bait 140 characters or less)
Everyone will receive and answer a question from me
30 second limits on all videos
Must include example videos
Must include quotes from videos and comments/ reddits
Must include research on your topic from inside and beyond
class
Must be a PowerPoint
Must introduce us to some brand new terminology/idea
Must answer the question:
1. Why do people make and watch these videos?
2. What do these videos tell us about YouTube and digital culture?
 TEACH ME SOMETHING NEW

Keep it interesting with intriguing insights, facts, and

observations. Place your most important observations in what
I call power sentences, short this is that form sentences
designed to make your audience curious.
Everything were going to talk about represents a one -tenth of one
percent glimpse, because thats all weve seen.
Fifty percent of the United States of America lies beneath the sea
The greatest mountain range on Earth lies under the ocean.
Most of our planet is in eternal darkness.
You can use images and videos in this same manner.
Break your audiences guessing machine: What does the
everyday person know about your topic? How can you surprise
us? This should be the focus of your presentation.
 TEACH ME SOMETHING NEW

Play the role of an expert. No one knows more about this topic
than you do. Show us some of the most weird and interesting
facts and findings that youve discovered along the way.
Speak with authority and from authority by using specific
examples.
Take us on a journey. Dont just talk about one aspect of your
topic, choose a few that build on one another or complicate
one another. Start with a question and give us some clues as
we walk through your presentation that each answer a part of
it. Dont let my brain settle.
Know your audience. You know what weve learned in this
class, so connect your research to those common points of
knowledge for us. Where do your examples extend,
complicate, or reject what weve learned?
 PAINT A MULTI-SENSORY PICTURE

1. Build presentations that touch on more than one of the senses:

sight, sound, touch, taste, and smell.
2. Use pictures instead of text whenever possible. Make slides
that are visually intriguing. Avoid bulleted text slides. If
possible combine all text with background images. Fill your
slides with images.
What images and screen captures of videos best represent what youre
talking about?
Which are the most intriguing?
Are there ways you can visualize or make infographics of your data?
This is especially true of complex or theoretical topics. Easy
images/illustration are needed to concretize complex ideas.
3. Use visuals to enhance words, not duplicate them.
4. One topic/point per slide: avoid multiple bullet points.
 PAINT A MULTI-SENSORY PICTURE

1. Be aware of pace and volume as you present. Say your

power sentences and most important data slowly. Even
repeat it. Write notes on not only just what you are going to
say but how you are going to say it.
2. Give vivid descriptions of your videos. Use surprising detail.
Build a mental picture. (highlight taste and touch here)
3. Are there props you can pass around?
4. Be aware of how your body is moving in space. Walk around.
Come out from behind the podium.
 TIPS ON ACADEMIC PRESENTATIONS

1. Start with an interesting example: think click bait.

2. That leads to an intriguing question or mystery.
3. Sign post at the beginning and throughout: first, second,
and third.
4. Humanize your subjects: who are they, why are they, dig
deep, show us their weirdness but also their motivations.
5. Include plenty of power sentences and make sure to put
them on your slides: This is that. Think tweet -ability.
6. Face the audience not the PowerPoint: Dont read the
PowerPoint and dont stand in front of it.
7. Interact with the audience.
8. Conclude in an active way: Call to action, point out why this
research needs to be explored further, inspire.
TYPES OF TED TALK Slides
Come Last
SLIDES
GET ME ACTIVELY DOING SOMETHING
DEFINE A TERM THROUGH AN EXAMPLE
WHAT DOES NOSTALGIC DESIGN LOOK LIKE
IN APPALACHIA?

Maker Spaces can be set up just about anywhere, and be as

low or high-tech as the makers want or need. Building a robot
is certainly something one associates with a maker space,
but so is making a banjo, learning to code, sewing a quilt,
etc.
--The Holler Maker Space Project
 SLIDE TIPS

1. Write the presentation first know what youre saying before

you create the slides.
2. Create a consistent look and feel using a theme.
3. Less is more when you create slides with text. Have one
topic per slide. One quote/power sentence per slide.
4. Use transition slides to tell us when youre switching topics.
5. Dont use ef fects and transitions.
6. Use masking to highlight the important
 PARTS OF AN ACADEMIC PAPER
I. C o v e r p a g e w i t h t w e et a b l e t i t l e
II. Intro
Start in the same way as a good presentation. Pose a question or myster y through a key
example. Then give me your key thesis/argument/research question.
III. C o m m un i t y I n t r o ( b o t h yo u r i n t r o s c a n a p p e a r i n t h e s a m e s e c t i o n )
Take us on a tour of your community. Who are they? What are they? What are there
boundaries? Why did you select the scope that you did? The videos you will be discussing?
And not others? Position this tour to illustrate your argument/theory without going to deeply
into it. Focus on the most interesting and relevant stuff.
IV. L i t Rev i ew / T h e o r y I n t r o
Positions your argument in a they say/I say format. What are other people saying about
your topic. Where are the gaps in research that your paper will fill in.
V. A r g um e n t 1
Argument/claim/obser vation+example from your research that proves this claim+theor y
from somewhere else that helps us understand+how your example complicates that theor y.
Do not go for breadth and ten different topics. Choose one argument and go ver y deep .
You use other people theories to read your examples. But you also make up your own
theories.
VI. C o m p li c a t io n 1 , 2 , 3 , et c .
This is where you dig even deeper into your community/argument. What other perspective or
areas, features, theories, ideas come from a deeper analysis of your community.
This is where you tell your readers: Not so fast, things arent as simple as they may seem,
you also have to consider x, y, z that change our perspective on argument 1 in these
nuanced ways.
Bring in other theorists/theories/sources that add something new and intriguing.
VII. C o n c l us i o n : Po i n t s to a r e a s o f f u t ur e r e s e a r c h . G i v e s a s t r a i g h t fo r wa r d a r g u m e n t
a n d ex p l a n a t i o n o f w hy t h i s a l l m a t te r s .
V I I I . Wo r k s C i te d
 THESIS

Subject: In this paper, I will examine how ASMR videos create pleasure
through a distant intimacy that relies on the heteronormative gender
roles of care and the aural impres- sion of the whisper for its
implementation and how their shared space on YouTube fur ther defines
that intimacy as public and communal.
Complication : At fir st glance, ASMR seems to be an excellent case by
which to examine af fect divorced from emotion, as a pure instance of
excess of sensation uncolored by emotional connection. However,
although ASMR is not merely a physiological experience of pure af fect,
it is just as clearly linked to the emotional associations created
through the experience of public inti- macy.
Argument: In this paper, I will explore the connotations of intimacy and
care that create the af fective ASMR experience to examine the ASMR
community on YouTube as sharing in a public and therefore
nonnormative experience of distant intimacy that reflects, if
reluctantly, the potential of digital communities to make us feel.
 INTRO

In the childrens rhyming game Dot dot line line , patterns are traced out
on the par ticipants back . Tapping fingers recreate spider s crawling, and
a slow caress becomes the dripping of a slimy egg. The rhyme calls on a
sensor y experience of contact with another per son and by extension with
the unusual or feared substances they tell a stor y about to induce
shivers, or shiveries, as the rhyme goes. The focused attention on the
hands as they draw on the skin, the anticipation of described sensations,
and the emo- tional investment in stor ytelling combine to create the
shiveries. The shiveries is an af fective experience that demonstrates the
links between af fect and emotion: without the stor y, the taps and pats
are only a friends touch; without the touch, there are no crawling
spider s, just a stor y. In the case of the childrens rhyme, role -play demon-
strates the impor tance of emotional content in inducing a physiological
sensation of the shiver. The fascination with the shiveries does not end
with children. Since at least 2008, an online community dedicated to the
pur suit of a similar shiver y sensation has used YouTube, the online video -
sharing platform, to create, collect, and exchange videos made to trigger
the tingles through a computer screen (Tufnell 201 2).
 GENRE/COMMUNIT Y INTRO
While a huge phenomenon, the genre (vertical is the industry term) of unboxing is poorly
defined and understood. Media accounts have described the genre alternatively as adver torials
(Chettle, 2015) and adver tising (Sloane, 2015) that represents a market, business
( S c h w e i z e r, 2 0 1 5 ) a n d i n d u s t r y ( C o z m u i c , 2 0 1 5 ) . A s S i l c o f f ( 2 0 1 4 ) r e c o u n t s , I s p o k e t o s o m e
Internet experts who saw the videos as everything from consumers taking back the night from
untrustwor thy marketers, to shoppers tr ying to humanize increasingly computer -based shopping
t h r o u g h s h a r i n g , t o a s p i r a t i o n a l t h r i l l - s e e k i n g i n r e c e s s i o n a r y, d i g i t a l l y m e d i a t e d t i m e s .
Although Silcof f (2014) alludes to these videos as relatives of the haul genre, which describes
Yo u Tu b e v i d e o s o f y o u n g g i r l s o p e n i n g u p t h e i r b e a u t y p r o d u c t s a f t e r a t r i p a t t h e m a l l , t h e
u n b o x - i n g g e n r e p r e d a t e s t h i s f a d a n d e v e n Yo u Tu b e i t s e l f . U n b o x i n g f i r s t e m e r g e d i n t h e e a r l y
2000s on websites like Unbox.it and unboxing.com . The content primarily featured young adults
opening the latest electronics, which is why the videos were deemed geek porn (Steel, 2006).
O n c e Yo u Tu b e w a s l a u n c h e d i n 2 0 0 5 , t h e g e n r e e m e r g e d a s o n e o f t h e m o s t p o p u l a r, g r o w i n g a t
a r a t e o f 8 71 % s i n c e 2 0 1 0 ( K e l l y, 2 0 1 4 ) . T h e r a p i d g r o w t h o f t h e g e n r e s a w i t d i v e r s i f y f r o m a d u l t
e l e c t r o n i c s t o c h i l d r e n s t o y s , a s u b - g e n r e t h a t h a s p r o v e n e v e n m o r e p o p u l a r. I t i s i m p o r t a n t t o
emphasise that the closely aligned genre of product reviews, such as adult electronics, is not our
focus in this ar ticle. For example, the con - ventions of the critical review are not typically par t of
c h i l d r e n s t o y u n b o x i n g . T h e Yo u Tu b e c h a n - n e l F u n To y z C o l l e c t o r h a s 8 m i l l i o n s u b s c r i b e r s a n d
the c hannels most viewed video, PlayDoh Sparkle Princ ess Ariel E lsa Anna Disney Frozen
MagiClip Glitter Glider Magic Clip Dolls, has been watched nearly half a billion times as of
A u g u s t 2 0 1 6 . A c c o r d i n g t o W i l e ( 2 0 1 5 ) , t h e F u n To y z C o l l e c t o r Yo u Tu b e C h a n n e l m a d e o v e r
US$4.9 million since its inception, but this figure is based solely on programmatic advertising
and does not account for other revenue streams like potentially lucrative influencer marketing
deals with toy manufacturers. The channel features a pair of hands opening boxes and
assembling toys with a childlike female voiceover the creator host has gone to great lengths to
k e e p h e r i d e n t i t y a n o n y m o u s . H o w e v e r, t h e t a b l o i d p r e s s ( T h o m p s o n , 2 0 1 5 ) h a s i d e n t i f i e d h e r a s
a f o r m e r B r a z i l i a n p o r n s t a r, w h i c h o n l y a m p l i f i e s t h e m o r a l p a n i c s u r r o u n d i n g t h e s e v i d e o s . F u n
To y z C o l l e c t o r r e p r e s e n t s o n l y o n e o f n u m e r o u s k i d s u n b o x i n g c h a n n e l s a c r o s s m u l t i p l e p l a t f o r m s
generating significant revenue based out of multiple locations around the world, including one of
A u s t r a l i a s m o s t v i e w e d Yo u Tu b e c h a n n e l s , F l u f f y J e t P r o d u c t i o n s .
 COMMUNIT Y INTRO

Sampling Methodology: Wh i l e mi n d f u l o f t h e s e c h a l l e n g e s o v e r f i v e mo n t h s
b e t w e e n J a n u a r y a n d M a y 2 0 1 4 , I d e v i s e d a s a mp l i n g s t r a t e g y s e l e c t i n g c l i p s f o r
a n a l ys i s f o c u s e d f i r s t o n i d e n t i f yi n g v l o g s u s i n g t h e s e a r c h t e r m d e a t h o f a p a r e n t .
D u r i n g t h i s t i me t h e n u mb e r o f v i e w s , s u b s c r i b e r s , a d d i t i o n a l v i d e o s , i n c l u s i o n o f
t h u mb s u p a n d d o w n s i g n a l s c h a n g e d , b u t o n l y t o v e r y mi n i ma l d e g r e e s o r n o t a t a l l . I n
t o t a l a p p r o xi ma t e l y 2 0 3 , 0 00 v l o g s w e r e g e n e r a t e d b y t h e s e a r c h . I n o r d e r t o f u r t h e r
r e f i n e t h i s s a mp l e , f o c u s s h i f t e d t o t h e p r o - d u c e r o f t h e v l o g e l i mi n a t in g t h o s e t h a t
w e r e n o t c o n s t r u c t e d b y yo u t h ( e . g . t h o s e ma d e b y mi d d l e - a g e d o r e l d e r l y p e o p le
t a l k i n g a b o u t p a r e n ta l d e a t h , i n c l u d i n g d e a t h s w h i c h o c c u r r e d w h e n t h e y w e r e yo u n g )
a n d t h o s e w h i c h w e r e n o t c r e a t e d b y a n d f o r p e e r s ( e . g . t h o s e ma d e b y g r i e f
c o u n s e l l or s , n e w s s t o r i e s a b o u t p a r e n t a l d e a t h s , p a r e n t a l d e a t h s i n mo v i e s , e t c . ) . A f i n a l
s t a g e i n v o l v e d s e l e c t i n g t h o s e v l o g s w h i c h c o n f o r me d g e n e r i c a l ly t o a p i e c e t o
c a me r a , t h a t i s , a v l o g i n t h e w h i c h t h e d e a t h o f a p a r e n t i s d i r e c t ly s p o k e n a b o u t
e i t h e r v e r b a l l y o r w i t h h a n d - w r i tt e n me s s a g e s o n a s e r i e s o f l a rg e p i e c e s o f p a p e r o r
c a r d b o a r d h e l d u p t o c a me r a . I n o r d e r t o s a mp l e f o r d e t a i l e d d e s c r i p t io n a n d a n a l ys i s , a
ma x i mu m o f 11 v i d e o s w a s s e l e c t e d .
 THEORY LITERATURE REVIEW

ASMR is pleasant or pleasurable, but its causes are subjective

and contested even among those devotees who nonetheless
insist on its existence. Af fect has been identi- fied by
Massumi (1995, 88) as a physiological reaction to experience
that precedes the cognitive coding of the event as an
emotion. The ASMR experience is undeniably af fective, as a
sensation that has a wide array of mostly aural triggers not
connected to any one specific cause or event. Common
triggers include the whispered voice, rus- tling paper, the
tapping of fingers, crinkling plastic, and combinations of all
of these in role-play videos that recreate the performance of
ordinary tasks. However, ASMR floats around a set of
triggering experiences as a charge that defies logic, just as
af fec- tive experience defies the cognitive positioning of
emotion. As an af fective experi- ence, ASMR is felt as a
physiological charge.
 ARGUMENT 1

1. Argument/claim/observation
The online discussion forums at <http:// www.thetwilightsaga.com> provide opportunities
for this individually situated interpretation of popular culture phenomena that
encourages both reinforcement of and resistance to cultural messages in a space
created for and by an audience of girls and young women.
2. Example from your research that proves this claim
The poster Logic, who began the discussion thread Twilight is so Anti-Feminist that I
want to Cry on February 19, 2009, publicly resisted what she interpreted as the anti -
feminist message of the Twilight series. Her initial post provided the top five reasons
that support her claim, including a lack of strong female characters, the stereotypical
portrayal of womens roles, the unequal relationship between Bella and Edward, specific
attributes that are denied to female werewolves, and the characterization of Bella.
3. Theory from somewhere else that helps us understand your claim
Convergence culture facilitates this consideration of the real -life implications of a text by
exposing the ways a text functions socially through interactive spaces like discussion
boards. Mazzarella (2005) argued that Chad Michael Murray fan sites gave girls the
chance to be cultural producers but tended to reproduce the conventions of established
texts like teen magazines.
4. How your example complicates that theory.
In contrast, these discussions about Twilight demonstrate the potential for
transmedia narratives to take on a critical and political dimension. By grappling
with definitions of feminism within the novels, the posters simultaneously confront
the consequences of these definitions in their lives.
 COMPLICATION

This is your next topic

Elaboration: actually, by extension, in short, that is, in other words, to put it another way, to
put it bluntly, to put it succinctly, ultimately
Comparison: along the same lines, in the same way, likewise, similarly
Contrast: although, but, by contrast, conversely, despite, even though, however, in contrast,
nevertheless, nonetheless, on the contrary, on the other hand, regardless, whereas, while, yet
1. In order for this experimentation and negotiation to flourish, however,
the discussion board must allow and encourage member s ar ticulations
of opinions and positions. Beyond discussi on of the novels, the poster s
on <thetwilight - saga.com > also provide meta -commentar y about the
thread itself and the extent to which it allows them to express
themselves.
2. For example, during the debate about cooking, one of the adults on the
thread wrote, i am married with a 1 year old and i go to school cook and
clean while he works. does this somehow make me weak since i could fit
in to the 1950s house wife character? no it doesnt, i do these things
because i want to keep my house clean and i think i cook better than my
husband. has nothing to do with me being a weak female (p. 25).
3. The par ticipants empowered one another and created the kind of space
that many in Hawisher and Sullivans (1998) study imagined by valuing
per sonal experience in a public forum, validating one anothers
arguments, and resisting forms of oppressi on. Many scholar s have noted
the desire for and impor tance of using the Internet as a per sonal tool as
well as a professi onal one (Takayoshi et al., 1999; Takayoshi , 2000;
Hawisher & Sullivan, 1998).
 CONCLUSION

1. Recap: The fact that Twilight s publisher s successfull y cultivated a

vibrant online environment that extends the experiences provided by the
novels indicates not only the power of transmedia narratives but also the
shif ting role of girls and women in creating and sustaining these
narratives. An interest in the Twilight series might have drawn visitor s to
sites like <http:// thetwilightsaga.com >, but the agency encouraged by
transmedia narratives turned them into par ticipants.
2. Whats Next: Future research on these practices should examine to what
extent these literacy activities reflect those taught in the classroom or
demonstrate new, hybrid strategies for encountering, interpreting, and
producing texts in collaborative, online environments. Better
under standing how these practices are employed as a result of
convergence culture will help teacher s take advantage of transmedia
narratives in their classrooms.
3. The So What: Although scholar s have recognized that transmedia
narratives are about more than a text and its means of reaching us,
these explorations of what else these narratives reveal has been invisibly
gendered, focusing on texts with predominately male audiences or on
practices like gaming that traditionally appeal to male audiences. As
<thetwilightsaga.com > reveals, however, girls and young women also
inhabit these spaces and use them to interpret texts, situate texts
politically and socially, and build relationships. Looking at marginalized
groups like young women reveals what is a stake when groups can unite
around a text and transform it to create new meaning and new online
environments.
 ANSWERING QUESTIONS

1. Find the example

2. Connect to the theory
3. Ask to rephrase the question if needed