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By Ben Light (auth.)
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Extra info for Disconnecting with Social Networking Sites
In this respect Akrich (1992) enrols the metaphor of a ﬁlm as such arrangements are characterised as putting forward a script which brings with it a preferred reading (the designer’s 30 Appropriating Social Networking Sites reading) for the user. Of course, Akrich acknowledges these preferred readings may be adapted, edited or indeed rewritten. In a similar vein, Woolgar (1991) discussed designers’ attempts to conﬁgure the user and how this might constrain appropriation though this position has been subject to critique as overemphasising the power of designers (Wajcman 1991, Berg and Lie 1995, Oudshoorn 1999, Mackay et al.
Moreover, it is important to recognise the complications that can arise where people speak on behalf of users (Roharcher 2005). As has been articulated widely in design processes generally, and in relation to information technologies, there are a number of audiences who may be users, producers, intermediaries or one and the same at any given time. These audiences may include primary and secondary users (Friedman and Cornford 1989, Ferneley and Light 2006); bystanders1 (Ferneley and Light 2008), consultants and managers (Howcroft and Light 2006, Howcroft and Light 2010), developers/designers of complementary products and others who may act as gatekeepers or proxies for ultimate potential users (Stewart and Williams 2005a, Wyatt 2005).
But, usually, once set, a door handle is most likely to remain a door handle. In contrast, where the digital is concerned, we are talking of arrangements that are, potentially, constantly malleable making attempts at reaching stabilisation or closure much more difﬁcult to pronounce. For instance, in the case of this text, so many actors are involved in the constant co-production and consumption of SNSs, that completely determining what they are is potentially futile. The most we can hope for is some temporary shared understandings amongst a diversity of relevant social groups.