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"Twitter’s smart enough, or lucky enough, to say, ‘Gee, let’s not try to compete with our users in designing this stuff, let’s outsource design to them,’ ” said Eric von Hippel, head of the innovation and entrepreneurship group at the Sloan School of Management at M.I.T. and author of the book “Democratizing Innovation.”

Economists have long thought that producers — the people making products and running companies — are naturally the ones coming up with new ideas, Professor von Hippel said. In fact, he said, consumers often come up with ideas for products, and companies wait on the sidelines to see if they have mass appeal.

Technology companies have been the most active in relying on others to innovate for them. This is in large part because the Internet lets people exchange ideas easily and rapidly with large groups, and computing tools let people design new products cheaply.

The photo-sharing site Flickr started as a small part of a big online game. When the founders realized that the photo-sharing feature was more popular than the game, they scrapped the game and built Flickr. Open-source software companies leave innovation up to users, and companies like Bug Labs let people build their own hardware. "

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Consciously or unconsciously, Yacob is linkig my notion of transmedia entertainment with arguments about complexity in contemporary popular narrative made by Steven Johnson in his book, Everything Bad is Good For You, or C3 researcher Jason Mittell in his work on contemporary television narative. I see the kinds of complexity that Johnson and Mittell discuss as closely linked to the emergence of knowledge communities (or as Pierre Levy might call it, collective intelligence): a group of people, pooling their knowledge, working together, can process much greater complexity (indeed, demands much greater complexity) than an individual watching television alone in their living room. Transmedia entertainment simply pushes that search for complexity to the next level, spreading the information across multiple media platforms and thus providing an incentive for what Mimi Ito calls "hypersociality." The more people get absorbed into putting together these scattered bits of information, the more invested they are in the brand/fan narrative.

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