This link has been bookmarked by 38 people . It was first bookmarked on 08 Apr 2009, by Howard Rheingold.
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07 Apr 15
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participatory culture
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Convergence Culture: Where Old and New Media Collide
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“A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one’s creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another. Participatory culture shifts the focus of literacy from one of individual expression to community involvement.”
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ideas about the “gift economy” developed by Lewis Hyde in The Gift.
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The Craftsman
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The Craftsman
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desires for personal achievement and expression and for a “job well done,” which might help explain what motivates the pro-am productivity within our current digital economy.
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12 Mar 14
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20 Jan 13
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28 Feb 12
Jenna DiLorenzohas a part one and part two and defines while gives steps to it
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03 Aug 11
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"web 2.0."
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"web 2.0"
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"participatory culture
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offering critiques of the corporate web 2.0 model, shoring up the alternative grassroots model of participatory culture, promoting educational and political reforms which may empower more people to meaningfully participate in the production and circulation of culture.
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31 Dec 09
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"A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one's creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another. Participatory culture shifts the focus of literacy from one of individual expression to community involvement."
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19 Jul 09
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18 May 09
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"Web 2.0" has become increasingly institutionalized as the definitive account of the business plans and cultural practices defining the digital realm in the early 21st century.
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surprisingly few attempts to seriously understand its core assumptions or propose other models for describing the shifting relations between media producers and consumers
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Initially, the discourse of "web 2.0" was embraced as offering a progressive alternative to the alienation of the consumer from the means of cultural production and circulation
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over the past few years, struggles between users and owners
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There is an urgent need for serious reflection on the core models of cultural production, distribution, ownership, and participation underlying "web 2.0." Almost everyone involved sees our culture as moving in a more participatory direction, yet struggles over web 2.0 will help to determine the terms of our participation.
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academic theory needs to move beyond blunt critiques, which read these new developments as "business as usual" and reflect a knee-jerk distaste for consumerism, towards more nuanced accounts which understand the specific mechanisms being deployed and understands the public's stake in participation.
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real shifts in the ways that the general public understands their role in the culture or their political agency which need to be respected.
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those of us who have long advocated for a more "participatory culture" need to better define our ideals and identify and confront those forces that threaten the achievement of those ideals.
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should be a moment for renewed communication across theoretical paradigms and political perspectives so that we may frame cogent responses.
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"Web 2.0" is not the same thing as "participatory culture," though its promoters often seek to absorb grassroots expression fully into its business model.
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eleven social skills and cultural competencies we believe need to be fully incorporated into educational practices if all young people are going to become full participants in this shifting media landscape
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There, we offer one definition of participatory culture:
"A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one's creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another. Participatory culture shifts the focus of literacy from one of individual expression to community involvement."
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"Web 2.0" might then be read in terms of negotiations around value and worth which occur at the intersections between commodity culture and the gift economy.
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cultural labor has historically been motivated by forces other than pure profit, reflecting desires for personal achievement and expression and for a "job well done," which might help explain what motivates the pro-am productivity
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This new emphasis on "participatory culture" represents a serious rethinking of the model of cultural resistance which dominated cultural studies in the 1980s and 1990s. Cultural resistance is based on the assumption that average citizens are largely locked outside of the process of cultural production and circulations; De Certeau's "tactics" (especially as elaborated through the work of John Fiske) were "survival mechanisms" which allowed us to negotiate a space for our own pleasures and meanings in a world where we mostly consumed content produced by corporate media
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In this new context, participation is not the same thing as resistance nor is it simply an alternative form of co-optation; rather, struggles occur in, around, and through participation which have no predetermined outcomes.
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Both producers and consumers may now be understood as "participants" in this new media ecology, while recognizing that they do so from positions of unequal power, resources, skills, access, and time.
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Would it be correct if I extended this: "As consumers and citizens have taken media into their own hands, they are... defining strategies for using these new platforms in ways that promote their own interests rather than necessarily those of their corporate owners" to also say, "in ways that promote participation in collective interests rather that personally empowering, but private, resistance"?
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Barry,
It's a little more complicated than this. The old model of resistance in cultural studies did include the possibility of resistant subcultures. My early work on fandom in Textual Poachers would have framed fans in this way. But the assumption was that whatever meanings, or culture, were produced largely stayed within that community. The public lacked the means of cultural distribution which was even more crippling than the lack of the means of cultural production. -
That's one of many reasons to think of participation as different from resistance. Another would be that the resistance model assumed a simple opposition between the interests of the public and those of business, where-as the new Web 2.0 model holds open the possibility that these interests may be at least temporarily alligned. If nothing else, the companies need our content and we need their distribution channels.
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16 May 09
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There is an urgent need for serious reflection on the core models of cultural production, distribution, ownership, and participation underlying "web 2.0." Almost everyone involved sees our culture as moving in a more participatory direction, yet struggles over web 2.0 will help to determine the terms of our participation.
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In Confronting the Challenges of a Participatory Culture: Media Education for the 21st Century, a white paper drafted for the MacArthur Foundation, I develop a framework for thinking about educational policy which reflects these changes, identifying eleven social skills and cultural competencies we believe need to be fully incorporated into educational practices if all young people are going to become full participants in this shifting media landscape. There, we offer one definition of participatory culture:
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"A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one's creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices.
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08 May 09
John EckmanHenry Jenkins on "Participatory Culture" and the need for critical, theoretically informed understandings of the relationship between bottoms up participation and a corporatized "web 2.0"
web2.0 participatory_culture jenkins media literacy henryjenkins reading henry_jenkins medialiteracy participatoryculture participatory newmedia
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30 Apr 09
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"Web 2.0" has become increasingly institutionalized as the definitive account of the business plans and cultural practices defining the digital realm in the early 21st century.
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specific mechanisms being deployed and understands the public's stake in participation. The pitches of web 2.0 companies respond to real shifts in the ways that the general public understands their role in the culture or their political agency which need to be respected
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Right now, our theories are struggling to keep up with the change and falling far behind what's needed on the ground as people think through their own relationships to new cultural systems and emerging corporate practices.
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The rise of digital networks is facilitating new forms of "collective intelligence" which are allowing groups of consumers to identify and pursue common interests. Alternative forms of cultural production, such as those surrounding fandom and other subcultural communities, are gaining much greater visibility as they move through emerging platforms. Skills acquired through participation in popular culture are spilling over into education, politics, and religion, reshaping the operations of other core institutions.
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I have been seeking to better understand the mechanisms by which consumers curate and circulate media content, rejecting current discussions of "viral media" (which hold onto a top-down model of cultural infection) in favor of an alternative model of "spreadability" (based on the active and self conscious agency of consumers who decide what content they want to "spread" through their social networks.
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21 Apr 09
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19 Apr 09
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16 Apr 09
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14 Apr 09
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13 Apr 09
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12 Apr 09
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11 Apr 09
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10 Apr 09
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David Toews[these] remarks for the "critical information studies" panel ... represent a pretty good summary of some of the things I've been thinking about and working on over the past few years - Henry Jenkins
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Tim O'Reilly's concept of "web 2.0" was first promoted at a 2004 conference of key industry leaders and later spread via his "What is Web 2.0" essay.
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There is an urgent need for serious reflection on the core models of cultural production, distribution, ownership, and participation underlying "web 2.0."
-
those of us who have long advocated for a more "participatory culture" need to better define our ideals and identify and confront those forces that threaten the achievement of those ideals
-
A participatory culture is a culture with relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing one's creations, and some type of informal mentorship whereby what is known by the most experienced is passed along to novices. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection with one another. Participatory culture shifts the focus of literacy from one of individual expression to community involvement.
-
I have been seeking to better understand the mechanisms by which consumers curate and circulate media content, rejecting current discussions of "viral media" (which hold onto a top-down model of cultural infection) in favor of an alternative model of "spreadability" (based on the active and self conscious agency of consumers who decide what content they want to "spread" through their social networks.
-
This new emphasis on "participatory culture" represents a serious rethinking of the model of cultural resistance which dominated cultural studies in the 1980s and 1990s.
-
In this new context, participation is not the same thing as resistance nor is it simply an alternative form of co-optation; rather, struggles occur in, around, and through participation which have no predetermined outcomes.
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09 Apr 09
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Heinz WittenbrinkHenry Jenkins stellt seinen eigenen Ansatz aus der Vogelperspektive dar und setzt sein Verständnis der "partizipatorischen Kultur" von den Geschäftsmodellen des Web 2.0 ab. So wie sie hier dargestellt wird, blendet diese Perspektive die technische Infrast
HenryJenkins mediastudies medialiteracy participatoryculture via:HowardRheingold
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08 Apr 09
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At the same time, those of us who have long advocated for a more "participatory culture" need to better define our ideals and identify and confront those forces that threaten the achievement of those ideals. This should be a moment for renewed communication across theoretical paradigms and political perspectives so that we may frame cogent responses. As we learn from each other, we need to adopt a multifront perspective: offering critiques of the corporate web 2.0 model, shoring up the alternative grassroots model of participatory culture, promoting educational and political reforms which may empower more people to meaningfully participate in the production and circulation of culture.
Theory -- both academic and vernacular -- becomes a key resource in these struggles, but only if we can build bridges between university researchers and those involved in other sites of media change. Academics need to be engaging with policy makers, media producers, fans, citizens, educators, and other constituencies who are part of the ongoing conversations which will redefine our cultural future. Right now, our theories are struggling to keep up with the change and falling far behind what's needed on the ground as people think through their own relationships to new cultural systems and emerging corporate practices.
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Suzanne MalleyToday's blog -- the first part of an essay I wrote about media policy for a participatory culture -- http://bit.ly/ohbcM
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Michel BauwensThere is an urgent need for serious reflection on the core models of cultural production, distribution, ownership, and participation underlying "web 2.0." Almost everyone involved sees our culture as moving in a more participatory direction, yet struggles
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Howard RheingoldThere is an urgent need for serious reflection on the core models of cultural production, distribution, ownership, and participation underlying "web 2.0." Almost everyone involved sees our culture as moving in a more participatory direction, yet struggles over web 2.0 will help to determine the terms of our participation.
-
There is an urgent need for serious reflection on the core models of cultural production, distribution, ownership, and participation underlying "web 2.0." Almost everyone involved sees our culture as moving in a more participatory direction, yet struggles over web 2.0 will help to determine the terms of our participation.
-
At the same time, those of us who have long advocated for a more "participatory culture" need to better define our ideals and identify and confront those forces that threaten the achievement of those ideals. This should be a moment for renewed communication across theoretical paradigms and political perspectives so that we may frame cogent responses. As we learn from each other, we need to adopt a multifront perspective: offering critiques of the corporate web 2.0 model, shoring up the alternative grassroots model of participatory culture, promoting educational and political reforms which may empower more people to meaningfully participate in the production and circulation of culture.
-
Web 2.0" is not the same thing as "participatory culture," though its promoters often seek to absorb grassroots expression fully into its business model. In Convergence Culture: Where Old and New Media Collide, I made the case that our current cultural landscape is being changed as much by bottom-up pressures from consumers and citizens as from top-down pressures from media conglomerates.
-
This new emphasis on "participatory culture" represents a serious rethinking of the model of cultural resistance which dominated cultural studies in the 1980s and 1990s. Cultural resistance is based on the assumption that average citizens are largely locked outside of the process of cultural production and circulations; De Certeau's "tactics" (especially as elaborated through the work of John Fiske) were "survival mechanisms" which allowed us to negotiate a space for our own pleasures and meanings in a world where we mostly consumed content produced by corporate media; "poachers" in my early formulations were "rogue readers" whose very act of reading violated many of the rules set in place to police and organize culture. Increasingly, audience participation is factored into the business plans and are central to the design of media franchises; media companies alternatively seek to court and control an increasingly unruley audience as fans and other consumers recognize that collectively we exert much greater influence on the cultural agenda and are helping to generate the content that others are consuming.
As consumers and citizens have taken media into their own hands, they are becoming more aware of the economic and legal mechanisms which might blunt their cultural influence and are defining strategies for using these new platforms in ways that promote their own interests rather than necessarily those of their corporate owners.
-
In this new context, participation is not the same thing as resistance nor is it simply an alternative form of co-optation; rather, struggles occur in, around, and through participation which have no predetermined outcomes. Both producers and consumers may now be understood as "participants" in this new media ecology, while recognizing that they do so from positions of unequal power, resources, skills, access, and time.
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