By Mirko Tobias Schäfer
Within the wake of the new far-reaching adjustments within the use and accessibility of know-how in our society, the common individual is much extra engaged with electronic tradition than ever sooner than. they aren't in basic terms topic to technological advances yet actively use, create, and mildew them in daily routines—connecting with family and strangers throughout the web and shrewdpermanent telephones, navigating electronic worlds for paintings and game, extracting details from titanic networks, or even growing and customizing interfaces to most sensible go well with their wishes. during this well timed paintings, Mirko Tobias Schäfer delves deep into the realities of person participation, the kinds it takes, and the preferred discourse round new media. Drawing on large learn into hacking tradition, fan groups, and internet 2.0 functions, Schäfer bargains a serious method of the hype round consumer participation and exposes the blurred limitations among industry-driven tradition and the area of the consumer.
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Extra resources for Bastard Culture!: How User Participation Transforms Cultural Production (Amsterdam University Press - MediaMatters)
Wherever user activities affect copyright and intellectual prop erty of established producers, confrontations emerge often involving lawsuits, PR campaigns and lobbying for law enforcement. The Digital Millennium Copyright Act aims at preventing users from challenging existing business. Figure 3 indicates DMCA-affected areas of user participation. 0 applications. A more complex level of archiving and organization is the dynamic and complex interaction of a plurality of users and information tech nology in ‘social media’ applications.
Participation was a major rhetorical trope in promoting the information revolution. It became a great legend of information and computer technology, highly visible not only in political policies and artists’ vision ary accounts, but also in companies’ corporate communications. The often almost evangelical impetus discernible in corporate media campaigns for the Internet and computer technology is closely related to the cultural heritage of the counterculture and libertarian entrepreneurship (Brockmann 1996; Castells 2001:37-38; Turner 2006).
While earlier discourse framed social progress as an effect of technological advancement, the rhetoric of community frames social progress as a collective effort achieved by using advanced technologies properly. In his programmatic text We-Think. The Power of Mass Creativity, Charles Leadbeater dreams of a way to amplify the collective intelligence of the plurality of users who then, in a joint effort – provided technology is used ‘wisely’ – could ‘spread democracy, promote freedom, alleviate inequality and allow us to be creative to gether, en mass’ (2008:6).