Yleistä: linkitän raportteihin myöhemmin abstraktit. Nämä käydään niin nopeasti läpi taas ettei meinaa oikein hitaampi pysyä mukana.
- In the crowd articulating participation in complex media production
...
- , Antoni Roig Telo, Jordi sanchez Navarro, Talia Leivobibitz
The aim of this paper is to present a critical approach to the notions of the 'crowd' in media creation and its relation to the participatory. Despite its wide use in collective media creation discourses, notions like 'crowdsourcing' or ‘crowdfunding’ fail to grasp the diversity of creative practices involved in participatory media production, becoming misleading tags. Specifically, crowdsourcing tends to be defined in terms of problem-solving, efficiency, embedment of consumer into the product, oriented to specific tasks through open calls or contests and built around a highly hierarchical organisation. In this context, 'consumers' are presented as advocates, as providers rather than participants. These ‘creative amateurs’ are not supposed to be connected to each other and are frequently anonymized, without having explicit recognition or being allowed to take part in decision-making processes, key elements in articulating participation (Carpentier, 2011). Moreover, motivations for participants tend to be vaguely connected to the lure of being immersed in media production and the hope of being recruited by the industry. In the end, outcomes are expected to be ‘improved’, but not ‘shaped’, by the crowd. However, if we turn our attention to actual media projects considered as exponents of crowdsourcing, things become more complex and diverse. For example, even tightly pre-configured global projects like 'Life in a day' or ‘Star Wars Uncut’ show some sense of transparency and reciprocity (as stated by Deuze, 2008) absent from canonical crowdsourcing discourses, and its final outcomes are inextricable from its participation processes. In this paper we will confront different kind of complex forms of contemporary participatory media projects (film, series, animation, documentary, etc.) with
‘the crowd’ and we will try to outline some of its key participatory features through a media practice approach (Couldry, 2004; Roig et al, 2009; Brauchler and Postill, 2011). Abstrakti
Tutkimus perustuu siihen kuinka elokuva ja tv-produktiot paljon luottaa webiin ja sosiaaliseen median. Keskityttiin käsittelemään kirttisesti sanan crowd käsittettä, kuinka sitä käytetään käsittämään sanana kaikki osaaottava toiminta.
Tutkimuksessa yritetään tunnistaa erilaiset crowdsourcingin mallien rajoitukset. Kymmenen casea joissa tutkittiin crowdsoursingin käyttöä, yksi caseista muuten Iron Sky Antoni Sky. Antoni selittää crowdsoursingin käsitteen. Onlinena tapahtuva osaaottava, avoin. Crowdsourcing on ongelmien etsimisen ulkoistamista, ei tuotantontomalli. Crowd muodostuu hyvin erilaisilla motivaatioilla varustetuista yksilöistä.
Tutkimuksesta crowdsoucing ei ota huomioon niinkään yhteisöjen voimaantumista, vaan suhtaudutaan niihin enemmänkin vain potentiaalisina katsojina.
- “Like children in the arms of automation”: two cultures and everyday life
...
- , Caroline Basset
This paper returns to the two cultures debate, sparked by C.P. Snow’s 1959 Rede Lecture,
Caroline Baseet on tutkinut jotenkin Leavisin kautta anti-teknokraatti asennetta 60- 70 luvulla Englannissa. Ja CB Snown. Mikäli oikein ymmärrän niin hän on tutkinut näiden kahden välistä debattia ja vuoropuhelua. ohi meni niin että hurahti.The Two Cultures and the Scientific Revolution, in which Snow, a novelist, scientist and civil servant, called for an end to the divisions between literary and scientific culture. When F.R. Leavis published a scathing response in the Spectator (1962) he sparked a major furore at the time and a controversy that has lasted over fifty years. The intention in returning to the original debate and its reception is to better understand forms of anxiety and hostility to digital technological developments that emerge as a recurring response to technological innovation, and to explore the degree to which they entail the contestation of cultural capital; the value of technology or technological values. Amongst Leavis’ more scabrous comments was the suggestion that Charles Snow’s novels must be written by a computer brain called Charles - only this, he said, could explain their mechanistic writing and lack of life. This mode of attack/invective was the modus operandi of Leavis’ own critical approach. It indicates the degree to which a quarrel around science and the arts was also (1) always an dispute in which questions concerning technology, refusing that binary distinction between ‘science’ and the ‘arts’, intervened – and (2) a dispute whose intensity might be explored in relation to a hostility to technology and technocratic values rather than being ‘anti-science’. This last may also be explored not only in terms of a learned debate but in relation to broader publics and to everyday life. The paper reports on an archeological return made in two ways: (1) Contemporary media coverage (including specialist journals and newspapers and periodicals) has been explored. (2) The everyday response to the debate has been approached through a consideration of the stage performances of Donald Flanders and Michael Swan in the Drop of Another Hat. This show included a sketch and famous song – still high on any Google list in a search for the first and second law of thermo-dynamics - satirizing C.P. Snow’s paper, his writing, and the very idea of scientific knowledge entering the drawing room. Re-locating the debate to the stage of a London theatre opens up new ways explore what fuelled the intensity of this debate, to ask why and how it captured so much attention amongst the general public. It is certainly the case that re-framing a consideration of the legacy of the two cultures through a return to the Flanders and Swan, and a stage show marked by a strong sense of nostalgia for an older England now destroyed or undermined by modern technologies, exposes the degree to which a debate supposedly framed around literary versus scientific values, actually focused on a general rather than disciplinary clash of cultural capitals. It concerned above all perhaps, the rise of technocratic values and a perceived threat to the ‘whole way of life’ of different – and very English – communities. This returns today in relation to digital cultures.
- The digital divide revisited: Towards a multifaceted measurement instrument for digital inequality
...
- , Ilse Marien, Leo van audenhohove
Erilaiset mittaumenetelmät ovat rajoittuneita. Niistä puuttuu teoreettinen kehys ja syy-seuraus yhteys. Teknologiakeskeistä, ei ota huomioon ihmisten taitoaja. Ihmisten asennetta on myös vaikeaa mitataBenchmarking-easy to measure.?
Digitaalinen epätasarvoisuus.
- ICT-esteet: saavutettavuuss, motvaatio, taidot, käyttö.
- Sosiaaliset esteet: ICT vahvistaa sosiaalista eristäneisyyttä antaen sille vaan uusia mekanismeja. Eli sosiaalinen eristyneisuys johtaa digitaaliseen eristyneisyyten.
Konteksi määrittää pitkälti ICT:n käytön, jos vanhemmat näyttää tehokkaan digitaalisen median käytön mallin, todennäköisesti lapsetkin käyttävät hyvin. Kaikkien ei pidä olla samalla tavalla ja yhtä paljon online, mutta kaikilla pitäisi olla mahdollisuus valita omaan elämään sopivat tavatOver the last decade research has pointed out the highly complex and multidimensional character of the digital divide, which no longer solely refers to not having access to computer and the Internet, but entails various barriers related to access, motivation and digital literacies caused by a large number of – often intertwined – social and economic characteristics. Various measurement tools to map Internet use and/or digital inequality exist, such as the Digital Divide Index (DIDIX), Digital Opportunity Index (DOI) or the Oxford Internet Survey (OxIS). Question however remains to what extent these measurement tools are in line with the increased complexity and multidimensional character of digital inequality. This study questions the theoretical and methodological issues related to the conceptualisation and measurement of digital inequality. Therefore, it entails 1) a theoretical reconsideration of the different elements and barriers that determine the digital divide; 2) a critical analysis of the various shortcomings of existing measurement tools; and 3) recommendations for improvement. The main research question is what the crucial determinants for digital inequality are, and how these can be translated into suitable indicators for quantitative measurement tools. The theoretical framework of this study is based on a variety of digital divide research. On the one hand, it consists of an in-depth reconsideration of the four levels of access – mental, material, usage, skills – identified by van Dijk (1999). On the other hand, it is based on research related to the adoption and domestication of new technologies and the influence in this regard of social and cultural capital, lifestyles and life stages, usage context and learning trajectories related to digital literacies. The empirical research is based on desk-research and is aimed at mapping and analyzing the indicators put to the fore in various measurement tools such as Eurostat, DIDIX, DOI or the OxIS. Results indicate that the majority of the existing measurement tools are highly limited in scope and mainly focus on easy-to-measure aspects such as quantity and frequency of use. Few measurement tools have incorporated the overall complexity of digital inequality. Also, too little attention is given to the measurement of the multidimensional character of digital literacies. The majority of the existing measurement tools focus on selfreported operational skills, and pay little attention to information-seeking or strategic skills. This paper tries to overcome these limitations in proposing an alternative measurement tool using new and improved indicators.
- Collective blogging and twitter hashtagging between gatekeeping and social memory: the case of an Italian digital storyteller
...
- , Elisabetta Locatelli
Bloggaaminen on kulttuurillinen teknologia työkalu. Elisabetta on tutkinut blogeja lähinnä storytellingin ja sosiaalisen muistin kautta. Elisabetta on tutkinut erilaisia bloggajia. Eniten tutkittavat kertoo tarinoita twitterissä, Kaikki voivat olla tarinankertojia joko ylsilöinä tai kollektiivisesti. Ongelma kuiten tarinan kertomiseen twiittien kautta on sen hajanaisuus. aika paljon meni ohi tästäkin.
- Small is beautiful: Lurkers engaging through micro contibutions, täytyy ottaa selville paperin tekijä??
abstaktiakaan en varmaan tähän hätään löydä....
Miten voidaan tehdä enemmän kontentin tekijäitä ja vähemmän lurkerseja= vaikea suomentaa, mutta niitä jotka eivät sosiaalisessa mediassa anna mitään itsestään.
Mitä he ovat: vapaa-ratsastajaia, resurssien ottajia.
tutkitaan miksi he ovat lurkeseja:
- Ei tarvetta postata mitään
- Tiedon hankintaa yhteisöstä ainoastaan
- Ei koe olevansa hyödyksi
- Ei pidä/osaa käyttäää ohjelmaa/alustaa
- Ei pidä ryhmän dynamiikasta tai kuinka siellä kommunikoidaan
He ovat "tilassa", eli aktivoitumassa toimijoiksi. Tutkija itsekin koki ettei lurkerina oleminen ole välttämättä huono asia, ja pelkästään läsnä oleminenkin on antamista sen suhteen että kuuluu johonkin yhteisöön, jolloin itse tuottajat voivat kokea että joku kuuntelee/katsoo
Since their creation, blogs have always been places where store social memory of things, facts, emotions or personal reflections. First blogs, actually, were literally web-logs, it is to say diaries of web navigations, aimed at sharing interesting things found on brand new websites (Blood, 2002). Gradually new and very different forms of blogging developed, some of which have a stronger relationship with the social construction of memory (Halbawchs, 1925; Irwin-Zarecka, 1994), for example collective blogs or personal ones held as diaries. Since some years this function has been assumed also by social networks that are personal repositories of persistent, searchable, replicable, and scalable contents (boyd, 2010) and socially shared places where create a collective memory. Thanks to its public nature Twitter is particularly used for this purpose, for example to comment in real time events or follow the development of conversations through hashtags, that are particularly useful because they put immediately in evidence topics of interest also not covered by news media. The increased access to social media (Kaplan & Haenlein, 2010) caused a multiplication of discourses and sources of information where it is not always easy to distinguish what is worth noting and remembering and what is, instead, to forget (Mayer-Schönberger, 2009). For their professional or personal expertise some users can become filters able to signal the best sources or to write comments that are appreciated by other users (it is to say commented, shared or retweeted) because capture a shared feeling. Doing this they become gatekeepers for their readers and followers. The purpose of this paper is to analyze the role of collective blogs in the creation of a social memory and in the crowdsourcing of news relating it to the historical development of blogging but also comparing it to the one of Twitter and especially to the use of hashtags. For this aim the theoretical background will be strengthened with the empirical analysis of the case of an Italian Twitter user who defines herself a “digital storyteller” and who has had a particular role in the covering of news about the Arab Spring and about the “Occupy” movement using in a very skillful way hashtags to give relevance to facts not present in the news coverage of these events. She is also one of the co-authors of a collective blog dedicated to the 10th anniversary of the G8 meeting in Genoa and the related disorders where people could post freely their memories about it. Finally she also conceived, with other Twitter users and bloggers, the project “Year in hashtag”, a site where the main facts of 2011 were selected for their relevance and related to the hashtags they were tagged by Twitter users. The analysis will be done with a netnography or digital ethnography methodology (Kozinets, 2002; Ward, 2008) following the user in her internet activities and integrating the desk analysis with interviews.