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<h1 id="aoir-8-2-3">AOIR 8.2.3</h1>
<ul class="post-metadata">
<li><time datetime="2007-10-20">20 October 2007</time></li>
<li><a href="/tags/conferences/" class="post-tag">conferences</a>, </li>
<li><a href="/tags/aoir8/" class="post-tag">aoir8</a></li>
</ul>
<p>Yesterdays keynote was from Henry Jenkins, entitled “The Moral Economy of Web 2.0: Reconsidering the Relations Between Producers and Consumers.” Im posting my notes below the fold; anything goofy therein should be attributed to flaws in the notetaker rather than the talk.</p>
<ul>
<li>Kevin OReillys statement about web 2.0: “network effects from user contributions are they key to market dominance in the web 2.0 era” - bravado in sense of “harnessing collective intelligence”</li>
<li>shouldnt exaggerate corporate power in web 2.0</li>
<li>joke: Please describe web 2.0 to me in two sentences or less. “You make all the content. They keep all the revenue.”</li>
<li>confusion of pronoun in media representations of web 2.0 (like Times “you” as person of the year): “you” = both singular and plural</li>
<li>collaborative meeting place of multiple subcultures in one shared platform</li>
<li>talking about web 2.0 as being so revolutionary erases history of older modes of participatory culture: fandom</li>
<li>fan cultures now central to calculations of media companies; many companies now act like they invented this participation</li>
<li>unstable truce between production companies and fan fiction authors</li>
<li>FANlib - web 2.0 company - saw a market in fan fiction; but knew almost nothing about fan fiction: fan fic writers are 90% female; execs all male; hamfisted ad campaign</li>
<li>“managed and moderated to the max” - finessed and managed</li>
<li>but fan fiction was “unpublishable” in the best possible sense</li>
<li>fan culture began asking critical questions about FANlib system: is this a trap? why do we need to be corporately managed? why should this company make money off of our labor?</li>
<li>conflict between gift economy and commodity culture</li>
<li>key ideas behind convergence culture:
<ul>
<li>“Convergence is a cultural rather than a technological process. We now live in a world where every story, image, sound, idea, brand, and relationship will play itself out across all possible media platforms.”</li>
<li>(convergence is not about device; instead about transmedia entertainment)</li>
<li>“In a networked society, people are increasingly forming knowledge communities to pool information and work together to solve problems they could not confront individually. We call that collective intelligence.”</li>
<li>“We are seeing the emergence of a new form of participatory culture (a contemporary version of folk culture) as consumers take media in their own hands, reworking its content to serve their personal and collective interests.”</li>
</ul>
</li>
<li>an example of participatory culture: a slide of his own ideas about participatory culture that he found online</li>
<li>low barriers for engagement, spring support for sharing creations with others; informal mentorship; members believe their contributions matter; care about others opinions of self and work; “Not every member must contribute, but all must believe they are free to contribute when ready and that what they contribute will be highly valued.”</li>
<li>benkler on hybrid media ecologies - secondlife as different groups using same participatory spaces, breaking down boundaries between communities?</li>
<li>major struggles now: net neutrality debate</li>
<li>new work on civic media and civic engagement</li>
<li>in this world, shift in what it means to be a consumer (“the group formerly known as the audience”) - spreadable media rather than sticky media</li>
<li>words starting to be used to talk about new audience modes: loyals, produsers, media-actives, etc</li>
<li>Grant McCracken: “multiplier” - participates in construction of brand; company depends on them to complete the work</li>
<li>mashups of Apple ads make fun of the ads, but still remind us of them</li>
<li>Axel Bruns: produsage - more fluid roles between consumption and production, collaborative and critical</li>
<li>pyramids of participation; power law</li>
<li>older modes of participatory culture had very strong models for pulling newbies into the community, allowing them to become more active participants; newer modes rely on a small number of active participants and a large number of less active folks</li>
<li>browncoats and serenity: studio used fans to help market film; after film left theater, studio sent fans invoice for their use of images; browncoats responded with an invoice for $2 million for their marketing labor</li>
<li>new consumers are migratory, with a declining loyalty to particular networks or media</li>
<li>new consumers are more socially connected</li>
<li>new consumers are noisy and active (live remake of burly brawl)</li>
<li>new consumers are resistant, taking media in their own hands (HP Alliance - transforming Harry Potter fandom into political platform)</li>
<li>from world of impressions (brands imprinted on us) to world of expressions</li>
<li>from intellectual property to emotional capital (what we invest in texts, what we make of them)</li>
<li>“lead users” - Eric von Hippel, Democratizing Innovation; early adopters adapt products to their own desires</li>
<li>consumer curating - fans driving re-release of older media</li>
<li>“wizard rock” - Harry Potter music</li>
<li>independent artists using web 2.0 to drive distribution of their work</li>
<li>Mark Deuze, MediaWork</li>
<li>range of positions in companies, from prohibitionist (trying to shut down participatory uses of companys material) to collaborationist (seeing value in such participation)</li>
<li>moral economy - on the one hand, free labor</li>
<li>on the other hand, panic of people like Andrew Keen (cult of amateur)</li>
<li>poster boy for power of participatory culture: Stephen Colbert - encourages remix of materials he publishes; YouTube distribution of Washington Press Corps talk; joking relationship with Wikipedia</li>
<li>but the production company has sent YouTube takedown orders to remove Colbert clips - contradictory space, companies torn by conflicting ideologies</li>
</ul>
<ul class="links-nextprev"><li class="links-nextprev-prev">← Previous<br> <a href="/aoir-822/">AOIR 8.2.2</a></li><li class="links-nextprev-next">Next →<br><a href="/aoir-831/">AOIR 8.3.1</a></li>
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