By Mirko Tobias Schäfer
Within the wake of the new far-reaching alterations within the use and accessibility of expertise in our society, the typical individual is way extra engaged with electronic tradition than ever earlier than. they don't seem to be basically topic to technological advances yet actively use, create, and mould them in daily routines—connecting with household and strangers in the course of the web and clever telephones, navigating electronic worlds for paintings and game, extracting details from significant networks, or even growing and customizing interfaces to most sensible swimsuit their wishes. during this well timed paintings, Mirko Tobias Schäfer delves deep into the realities of consumer participation, the varieties it takes, and the preferred discourse round new media. Drawing on large examine into hacking tradition, fan groups, and internet 2.0 purposes, Schäfer deals 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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Additional resources for Bastard Culture!: How User Participation Transforms Cultural Production (Amsterdam University Press - MediaMatters)
0 is, of course, a piece of jargon, nobody even knows what it means. 0 for you is blogs and wikis, then that is people to people. But that was what the Web was sup posed to be all along (Tim Berners-Lee, 2006). 0, the narrative of participation shifted from emphasizing access to emphasizing collaboration and collective action. 0. The unfolding diffusion of the Internet and the World Wide Web required companies and public administrators first to build the necessary infrastructure and to promote the new technologies.
Activities performed on the above-mentioned web platforms are often summarized as user-generated content (but not the implic it participation, which is mostly neglected) published and distributed through a platform provided by a commercial enterprise. Participation in cultural production is evident in the domains of accumulation, archiving, and construction. Many practices of users unfold in a complex dynamic with the cultural industries; they may develop through accidental or deliberate collaborations, or in competition, or completely outside of established production channels.
The promise of partici pation was crucial to the discourse inherent in the implementation of the Internet and the World Wide Web, and it is also inherent in the developers’ culture and the many design decisions they make while constructing these technologies. It was used for promoting the new technology and explaining alleged beneficial effects to large audiences. The technological imaginary is therefore represented in the way opinion leaders communicate about new media to their audiences and in the way engineers design technology.