Structures of Participation in Digital Culture
Social Science Research Council, 2007 - Computers - 284 pages
Digital technologies are engines of cultural innovation, from the virtualization of group networks and social identities to the digital convergence of textural and audio-visual media. User-centered content production, from Wikipedia and YouTube to Open Source, has become the emblem of this transformation, but the changes run deeper and wider than these novel organizational forms.
Digital culture is also about the transformation of what it means to be a creator within a vast and growing reservoir of media, data, computational power, and communicative possibilities. We have few tools and models for understanding the power of databases, network representations, filtering techniques, digital rights management, and other new architectures of agency and control. We have even fewer accounts of how these new capacities have transformed our shared cultures and our understanding of and capacities to act within them. This volume addresses these issues and supplies the demand for a comprehensive critical framework that places these developments in context.
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What gets termed piracy can differ markedly across cultures and is best seen as
emerging from specific domains: dynamic localities with particular legal, aesthetic
, and social assemblages. This forces us to explain why some objects are called
For the vast majority of Nigerians, Indians, or Egyptians, for instance, the array of
global media is only available through the mechanism of piracy; piracy is thus the
default infrastructure through which nearly all foreign media flow. Second ...
Before the dual arrival of cassettes and piracy, when films were shown once a
week on television or periodically at the cinema, there could be a general
influence but not the close textual control needed for precise copying: pausing,
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Notes on Contagious Media 158
Picturing the Public 164
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