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Everyday Life as a Text

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  • Michael Lahey

Abstract

This article explores how audience data are utilized in the tentative partnerships created between television and social media companies. Specially, it looks at the mutually beneficial relationship formed between the social media platform Twitter and television. It calls attention to how audience data are utilized as a way for the television industry to map itself onto the everyday lives of digital media audiences. I argue that the data-intensive monitoring of everyday life offers some measure of soft control over audiences in a digital media landscape. To do this, I explore “Social TV†—the relationships created between social media technologies and television—before explaining how Twitter leverages user data into partnerships with various television companies. Finally, the article explains what is fruitful about understanding the Twitter–television relationship as a form of soft control.

Suggested Citation

  • Michael Lahey, 2016. "Everyday Life as a Text," SAGE Open, , vol. 6(1), pages 21582440166, February.
    • Handle: RePEc:sae:sagope:v:6:y:2016:i:1:p:2158244016633738
    DOI: 10.1177/2158244016633738
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    Cited by:

    1. Roberto Tommasetti & Rodrigo de Oliveira Leite & Vinicius Mothé Maia & Marcelo Alvaro da Silva Macedo, 2021. "Revisiting the Accounting Fraud Components: A Bottom-Up Approach Using the Twitter Platform," SAGE Open, , vol. 11(4), pages 21582440211, November.
    2. Altuğ Tanaltay & Amirreza Safari Langroudi & Raha Akhavan-Tabatabaei & Nihat Kasap, 2021. "Can Social Media Predict Soccer Clubs’ Stock Prices? The Case of Turkish Teams and Twitter," SAGE Open, , vol. 11(2), pages 21582440211, April.
    3. Pedro Santander & Rodrigo Alfaro & Héctor Allende-Cid & Claudio Elórtegui & Cristian González, 2020. "Analyzing social media, analyzing the social? A methodological discussion about the demoscopic and predictive potential of social media," Quality & Quantity: International Journal of Methodology, Springer, vol. 54(3), pages 903-923, June.

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