Convergence (Convergence)

Publisher: University of Luton, SAGE Publications

Journal description

Convergence is an international refereed academic journal which was set up in 1995 to address the creative, social, political and pedagogical issues raised by the advent of new media technologies. As an international research journal, it provides a forum both for monitoring and exploring developments and for publishing vital research. Published quarterly and adopting an inter-disciplinary approach, Convergence has developed this area into an entirely new research field. Topics include: Video games; Cable and telecomms; Mobile media/content; Internet studies; Digital/new media art; Digital photography; VR; Control and censorship of the media; Copyright/intellectual property; New media policy; New media industries/institutions; New media history; New media in cross-cultural/international contexts; New media products; Digital TV; DVD; Digital music - recording, production, distribution, file formats/file sharing; Cinema; Gender and technology.

Current impact factor: 0.75

Impact Factor Rankings

Additional details

5-year impact 0.00
Cited half-life 0.00
Immediacy index 0.00
Eigenfactor 0.00
Article influence 0.00
Website Convergence: The International Journal of Research into New Media Technologies website
Other titles Convergence (London, England: Online), Journal of research into new media technologies
ISSN 1354-8565
OCLC 60629730
Material type Document, Periodical, Internet resource
Document type Internet Resource, Computer File, Journal / Magazine / Newspaper

Publisher details

SAGE Publications

  • Pre-print
    • Author can archive a pre-print version
  • Post-print
    • Author can archive a post-print version
  • Conditions
    • Authors retain copyright
    • Pre-print on any website
    • Author's post-print on author's personal website, departmental website, institutional website or institutional repository
    • On other repositories including PubMed Central after 12 months embargo
    • Publisher copyright and source must be acknowledged
    • Publisher's version/PDF cannot be used
    • Post-print version with changes from referees comments can be used
    • "as published" final version with layout and copy-editing changes cannot be archived but can be used on secure institutional intranet
  • Classification
    ​ green

Publications in this journal

  • Convergence 05/2015; 21(2):284-285. DOI:10.1177/1354856515573422
  • Convergence 05/2015; 21(2):282-284. DOI:10.1177/1354856515573421
  • Convergence 05/2015; 21(2):280-282. DOI:10.1177/1354856515573420
  • Convergence 05/2015; 21(2):167-168. DOI:10.1177/1354856515577888
  • Convergence 01/2015; 21(1):27-45. DOI:10.1177/1354856514560297
  • Convergence 01/2015; 21(1):58-77. DOI:10.1177/1354856514560299
  • Convergence 01/2015; 21(1):78-99. DOI:10.1177/1354856514560309
  • Convergence 01/2015; 21(1):145-164. DOI:10.1177/1354856514560313
  • Convergence 01/2015; 21(1):3-7. DOI:10.1177/1354856514560292
  • Convergence 01/2015; 21(1):132-144. DOI:10.1177/1354856514560312
  • [Show abstract] [Hide abstract]
    ABSTRACT: Non-fiction transmedia draws on the same definitions as fiction transmedia (PGA, 2010), which accepts without dispute the reference to ‘fictional story worlds’ (Jenkins, 2007; O'Flynn, 2012). By drawing attention to this grammatical oversight, we will review non-fiction transmedia literature, highlight the success of Go Back to Where You Came From (O’Mahoney, Australia, 2011) and provide a detailed analysis of the production of the The Living History of Fort Scratchley project (DVD documentary, i-doc, website, booklet, 2004–2008) against Henry Jenkins’ seven transmedia principles (2009b). This detailed analysis applies transmedia ‘fiction’ criteria to ‘non-fiction’, challenging transmedia’s explicit reference to fictional story universes.
    Convergence 01/2015; Convergence (online before print)(January 19, 2015):1354856514567053. DOI:10.1177/1354856514567053
  • [Show abstract] [Hide abstract]
    ABSTRACT: In the digital age, it seems that participation has been conflated with literacy, content with engagement, novelty with innovation and ubiquity with meaning (e.g. see Thornham and McFarlane, 2014; Gillespie, 2010; Dean, 2008; Livingstone, 2009; van Dijck, 2013) and encapsulated in terms such as ‘digital native’, ‘digital divide’ or ‘born digital’. In turn, these conflations have done something to technology, which is constructed as malleable, a supportive facilitator, and the user, who is constructed as active agent. Neither of these account for mediations nor for - crucial for us - the notion of the imaginary, which emerges in our research as so central to expertise. Drawing on ethnographic work carried out in Studio12, a media production facility for young people with disadvantaged backgrounds in Leeds, United Kingdom, we propose that the concept of expertise emerges through a bigger array of social capital as well as traditional structures of power such as class, gender and race. Expertise is claimed, evidenced and generated. For us, however, expertise emerged not only as elusive but also because it was premised on a disjuncture between lived and everyday youth and the promises of becoming in a future orientated (technological, imaginary and creative) landscape.
    Convergence 01/2015; DOI:10.1177/1354856515579841
  • [Show abstract] [Hide abstract]
    ABSTRACT: In this essay, the role of human expertise in the face of technological advance is discussed. There are many examples of technology that have become sufficiently advanced that the previous need to develop expert-level skills before being able to perform at a high level is either vastly reduced or eliminated. For instance, digital cameras can create sharp, beautiful photos with essentially zero technical skill, and high-definition video recordings are available on smartphones and iPads. The question is not only whether these technologies eliminate the need for expertise (thus substituting engineering for expertise) but also if in doing so they foster the development of new types of creative expertise (such as an ability to use photography as part of a social media strategy, for instance). The article concludes by arguing that machines contribute to an increasingly capable constellation of people and machines, which together allow more people to develop their talents into expressions of creative expertise.
    Convergence 01/2015; DOI:10.1177/1354856515579840
  • [Show abstract] [Hide abstract]
    ABSTRACT: The 3D high frame rate version of Peter Jackson’s first Hobbit film was touted as offering one of the most realistic and engaging movie-going experiences to date, its innovative projection technologies promising to greatly enhance viewers’ sense of immersion in the fantastical world of Middle-earth. However, our empirical research suggests the specific combination of technologies in The Hobbit had paradoxical perceptual and experiential effects. Whereas the groundbreaking hyperrealistic aesthetic enhanced both spectacular and narrative immersion for many viewers, a significant number experienced this same visual aesthetic as unconvincing and distracting and as undermining suspension of disbelief. In this article, we identify key factors contributing to polarization among Hobbit viewers on aesthetic grounds and offer empirical insights into how emerging cinematic technologies may be reshaping film spectatorship.
    Convergence 01/2015; DOI:10.1177/1354856515584880
  • [Show abstract] [Hide abstract]
    ABSTRACT: Crisis mapping has emerged as a method of connecting and empowering citizens during emergencies. This article explores the hyperbole behind crisis mapping as it extends into more long-term or ‘chronic’ community development practices. We critically examined developer issues and participant (i.e. community organization) usage within the context of local communities. We repurposed the predominant crisis mapping platform Crowdmap for three cases of community development in Canadian anglophone and francophone. Our case studies show mixed results about the actual cost of deployment, the results of disintermediation, and local context with the mapping application. Lastly, we discuss the relationship of hype, temporality, and community development as expressed in our cases.
    Convergence 01/2015; DOI:10.1177/1354856515584320
  • [Show abstract] [Hide abstract]
    ABSTRACT: This article is an attempt to rethink the assumptions and presumptions made about work on expertise and gameplay in an effort to tease out how such assumptions and presumptions are not only implicated in our analyses to date, but also misleading with regard to what we would see if we had a different framework for viewing. Our starting point here is that expertise is not a measurable and fixed capacity but rather relational, something produced within a techno-social system, where technology, gender, corporeality and identity intersect in complex multilayered ways, conditioned by the social contexts of use and the corporeal-locomotive expressions of craftsmanship technicity. In this article, we show how different methodological lenses and conceptual frameworks can be used to highlight different but interconnected aspects of the performance of expertise with regard to gaming.
    Convergence 01/2015; DOI:10.1177/1354856515579843
  • [Show abstract] [Hide abstract]
    ABSTRACT: This exploratory study examined a news episode in a single market as a case study aimed at teasing out elements associated with journalism and audience convergence. This study found four conditions present when the audience converged. The conditions were a spark, or ignition event, that has the potential to arouse dialogue, journalism that makes the broader public aware of such an event, a sufficient mass of audience commentary to create debate, and a channel through which the debate can occur. This process represents a convergence of different public spheres, where audiences overlap and interact across platforms, taking with them bits and pieces from other public spheres to create a new one, a converged conversation. Further, this study found that audience convergence stayed within the confines of the journalism channels that offered initial coverage of the event, suggesting journalism as a key element in the creation of such a space, but, once created, journalism is no longer the curator.
    Convergence 01/2015; DOI:10.1177/1354856515578398
  • [Show abstract] [Hide abstract]
    ABSTRACT: The increased level of technical abstractness poses a challenge for laypersons and politicians alike to notice the political impacts specific technical developments might bring. By presenting qualitative research on Europe’s oldest and one of the world’s largest hacker organizations - the Chaos Computer Club (CCC) - the article shows that the CCC acts as a civil society organization that brings together a wide range of knowledge, skills and experiences related to media technologies and infrastructures. By deconstructing the abstractness of a given technology, the CCC materializes its formerly unrecognized political quality. Yet, the political endeavour of closing the expert-public gap, in the interests of public democracy, is only brought to life once the outcomes of a particular hack are communicated in comprehensible manners to diverse publics and audiences. Overall the article points to the emergence of new modes and practices of expertise by conceptualizing the Club’s active demonstration of expertise through hacking and its articulation of expertise through media-related practices and interactions with institutional politics as interlocking arrangements. Today, hackers - and in particular hacker organizations - are best considered actors whose skills, knowledge and experiences are ever more relevant for political cultures and democracy at large.
    Convergence 01/2015; DOI:10.1177/1354856515579847