What Is Participatory Culture

Jenkins on Participatory Culture – New Learning Online

The mission of education, if it were possible to define it more broadly, it could be stated that its fundamental purpose is to ensure that all students benefit from their education in ways that enable them to participate fully in the public, community, and economic life.” — The New London Group was founded in 2000. … More than one-half of all American teens—and 57 percent of teens who use the Internet—could be considered media creators, according to a 2005 study conducted by the Pew Internet and American Life project, which was funded by the Ford Foundation.

The majority of people have participated in two or more of these activities.

Urban youth (40 percent) are slightly more likely than their suburban (28 percent) or rural (38 percent) counterparts to be media creators, according to the survey results.

The Pew Research Center discovered that there were no statistically significant differences in participation by race and ethnicity.

Podcasting, game modding, and machinima were not included in the Pew study because they are considered newer forms of expression.

Despite the fact that these forms are highly technological, they are produced and distributed through the use of other tools and networks.

For the time being, let us consider the following definition of participatory culture:

1. The presence of relatively few impediments to creative expression and civic activity
2. The ability to create and share one’s works with others is strongly encouraged. There should be some sort of informal mentorship whereby what is understood by the most experienced is passed on to the most inexperienced
3. A place where members sense that their efforts are significant
4. A group in which members have a sense of social connection with one another (at the very least, they care what other people think of what they have done)

It is not necessary for every member to participate, but everyone must think that they are free to contribute whenever they are ready and that their contributions will be adequately recognized. When living in such an environment, many people will just dabble, while others will dive deeper, and still others will master the abilities that are most highly prized by the community. The community, on the other hand, provides powerful incentives for both creative expression and active involvement in its own right.

1. First and foremost, textual literacy continues to be a critical ability in the twenty-first century.
2. Youth must broaden their necessary competences rather than discarding old ones in order to make place for new ones.
3. New media literacies comprise both conventional literacy, which developed with print culture, and newer kinds of literacy, which have emerged in the context of mass and digital media.
4. We are diametrically opposed to one another.
5. The advent of written language altered oral traditions, and the introduction of printed texts altered our connection with written language, much as the emergence of new digital ways of expression alters our relationship with printed texts.
6. Youth may develop their basic competences as readers and writers with the aid of the new digital cultures, which provide support systems.
7. Even conventional literacies must evolve in order to keep pace with the rapid changes in media.
8. Students require research abilities in addition to basic literacy.
9. In fact, these classic abilities become even more important as students wander beyond the confines of collections that have been vetted by librarians and into the more open world of the internet.
10. Students must also learn how to use technological equipment.
11. It would be an error of the same magnitude as equating handwriting with composition to restrict new media literacy to technical abilities, but this is not the case.

In addition, media literacy advocates have argued for decades that students must gain a fundamental understanding of the ways media representations shape our perceptions of the world; the economic and cultural contexts in which mass media is produced and circulated; the motivations and goals that shape the media they consume; and alternative practices that operate outside of the commercial mainstream.

Such organizations have long advocated for schools to instill a critical awareness of the media, which they consider to be one of the most powerful social, economic, political, and cultural institutions of our day, among other things.

All of these skills are necessary, even essential, but they are not sufficient in and of themselves, which brings us to our second point about the notion of twenty-first century literacy: the new media literacies should be viewed as social skills, as ways of interacting within a larger community, rather than as an individualized skill that can be used for personal expression alone.

study acknowledges the social elements of literacy, but mainly in terms of the dissemination of media information, which is a minor point.

It is more than simply multiplying individual interpretations; it signifies a fundamental difference in the ways we make sense of our cultural experiences, and in that sense it marks a major shift in how we think about and use the term “literacy.” A world like this necessitates the development of skills for working in social networks, pooling knowledge within a collective intelligence, negotiating across cultural differences that shape the governing assumptions in different communities, and reconciling conflicting bits of data to form a coherent picture of the world around them.

1. Not only must we incorporate these new knowledge cultures into our schools, but we must also foster long-distance cooperation across diverse learning communities in order to do so.
2. According to others, dispersed cooperation may be the most revolutionary aspect of new literacies since it allows collaboration and knowledge-sharing among enormous groups of people who may never otherwise come into contact with one other.
3. Changes in the media environment are transforming our sense of literacy and necessitating the development of new habits of mind, new methods of digesting culture, and new ways of engaging with the environment in which we live.
4. When young people transition from the domains of play and school to the adult world of work and society, we have only a vague notion of which competences are most likely to be important.
5. It is also possible to develop a participation culture in which individuals believe their contributions are important and experience a sense of social connection with one another (at the least they care what other people think about what they have created).
6. Creation of new creative forms (for example, digital sampling, skinning, and modeling, fan videomaking, fan fiction authoring, zines, and mash-ups) is an expression.
7. Circulations— Creating patterns in the movement of information (such as podcasting, blogging).
8. Participatory culture provides access to a new sort of hidden curriculum, determining which adolescents will thrive and which will be left behind when they reach school and the workforce.
9. Three considerations, on the other hand, point to the necessity of legislative and educational interventions.
10. It is called the Transparency Problem because it refers to the difficulties that young people have in learning to perceive clearly the ways in which media shapes their perspective of the world.

In order to ensure that every young person in the United States has access to the skills and experiences necessary to be a full participant, can articulate their understanding of how media shapes perceptions, and has been socialized into the emerging ethical standards that should shape their practices as media makers and participants in online communities, educators must work together.

1. Schools and afterschool programs must invest more time and resources to developing what we call new media literacies, which are a set of cultural competencies and social skills that young people need to succeed in today’s digital world, according to our research.
2. The new literacies virtually all need the development of social skills, which may be achieved through cooperation and networking.
3. The following are some of the new abilities: Play is defined as the ability to explore with one’s surroundings as a method of problem-solving.
4. Simulation is defined as the capacity to comprehend and generate dynamic models of real-world processes using data.
5. Performing many tasks at the same time requires the capacity to scan one’s environment and adjust one’s attention as needed to relevant aspects.
6. Collective Intelligence is defined as the capacity to pool information and compare notes with others in order to achieve a shared objective.
7. Transmedia Navigation refers to the capacity to follow the flow of tales and information across a variety of different media formats.
8. A negotiation skill is the capacity to move across distinct groups while recognizing and respecting multiple points of view, as well as comprehending and adhering to alternate conventions.
9. Everyone involved in the process of educating young people to enter the world has a role to play in assisting students in acquiring the skills they need to become contributing members of our society as full participants.

Jenkins, Henry. “Confronting the Challenges of Participatory Culture: Media Education for the Twenty-First Century.” Media Education for the Twenty-First Century. The John D. and Catherine T. MacArthur Foundation will be in Chicago on September 5-7, 19-20, and 3-4. ||Amazon||WorldCat

What is Participatory Culture

10. Participatory culture is a broad-based phrase that encompasses a wide range of activities that people engage in in the digital era. It is defined as follows: Henry Jenkins has made significant contributions to the appeal of participatory culture as a theoretical framework, as well as to its acceptance as such. Participatory cultures are exemplified by some of the activities that people engage in on a regular basis, such as Do It Yourself music mashups to construct identities, crowd sourcing, blogging, fancultures, and community organizing, to name a few.

1. Everyone becomes a producer as a result of this process (producer and user).
2. Participatory cultures are very productive, innovative, and collaborative in their nature.
3. More information may be found in the article “Culture of Moodle Use in Higher Education: Networked Relations between Technology, Culture, and Learners.” 19.
4. Aparticipatory cultures are characterized by low barriers to participation, strong social connections among members, a belief in the power of collective effort, and informal mentoring among members.
5. More information may be found at: Do-It-Yourself The Media and Education in the United States: A Brief Overview of an Uneasy Relationship 20.

More information may be found in Teaching Credibility of Sources in an Age of CMC.

22. A culture that opposes the consumerculture, in which individuals do not only consume cultural goods but actively contribute to them as contributors or producers, and that encourages people to work together. When culture absorbs and responds to a wave of new media technologies that allow normal consumers to preserve, annotate, appropriate, recirculate and remix media information in powerful new ways, it emerges. Participatory culture has the ability to foster civic involvement as well as artistic expression, according to media expert Henry Jenkins, who has done extensive research on the subject.

It is described as “a culture with relatively low barriers to creative expression and civic involvement, significant encouragement for making and sharing works, and some sort of informal mentorship wherein experienced participants pass on information to beginner participants.” Members of an apartheid culture believe that their contributions are important and that they have a sense of social connection with one another.” Particularly important are the abilities of affiliation, expression, collaborative problem solving, and circulation that underpin the participativeculture.

The following new abilities are introduced: “play, performance, simulation, appropriation, multitasking, distributed cognition, collective intelligence, judgment, transmedia navigation, networking, and negotiation’ (Jenkins, 2009).

Participatory culture can be defined as having low barriers to artistic expression and civic engagement, support for creating and sharing one’s intellectual property with others, a belief that one’s contributions are important, and a sense of social connection to others in the culture, among other characteristics.

A Participatory Culture — University of Leicester

Students in higher education today have the opportunity to participate in what Jenkins and colleagues (2006) refer to as a ‘participatory culture,’ thanks to the widespread availability of free and low-cost Web 2.0 technologies and tools, as well as easy access to the Internet from within the university, residence halls, and other locations. It is defined as a culture that “has relatively low barriers to creative expression and civic involvement, strong encouragement for making and sharing one’s works, and some sort of informal mentorship in which what is learned by the most experienced is passed on to novices” (p.

• Members believe their efforts are valuable, and they have a sense of social connection with one another (at the very least, they care about what other people think of the work they have done).
• 3) Learners who have access to such a participatory culture benefit from a variety of factors.
• The Melville report and other material, however, emphasize that not all present students are believed to possess the requisite abilities to participate effectively in this participatory culture, as stated in the study and other publications.
• 3) identify three areas of concern that require our attention:

• The lack of participation. A lack of equal opportunity for youth to participate fully in the world of future
• Unequal access to opportunities, experiences, skills, and knowledge
• And a lack of equal opportunity to participate fully in the world of tomorrow. There’s a problem with transparency. There is a great deal of difficulty for young people in comprehending how the new media tools that they use might affect their perspectives of the world. This is the ethical quandary. Because the use of new media tools, such as social media, can undermine traditional professional norms and practices, such as fair use of content and consideration for intellectual property rights, young people require assistance in understanding these issues as they become socialized in a Web 2.0 world.

Jenkins and colleagues (2006) conception of the three issues listed above will serve as a foundation for our research into higher education students’ web 2.0 habits. Notably, this pilot project would integrate theoretical insights from academic research on information and communications technologies, specifically perspectives on digital divides and inclusion, with pedagogic perspectives on learning and technology, as described above. Jenkins, H., Purushotma, R., Clinton, K., Weigel, M., Robinson, A.

(2006).

White pelicans are available courtesy of Marlin Harsh.

I’ve been thinking…It is time to revisit Jenkins’ Participatory Culture

One of the essential works in my growth and transition towards instructional technology was Henry Jenkins’ work and the notion of Participatory Culture, which he coined. His work and ideals are clearly summarized in the following passage: Participatory Culture as envisioned by Henry Jenkins What struck me about Jenkins’ work when I first saw it, and what continues to do so, is the prism through which he portrays how younger people today are harnessing technology to share their own passions with the world.

Consider the following passage from: Taking on the Challenges of Participatory Culture: Media Education for the Twenty-First Century When it comes to artistic expression and civic engagement, a participatory culture is one in which there are few barriers to entry, strong support for creating and sharing ones’ own creations, and some form of informal mentorship in which the knowledge of the most experienced is passed on to the most inexperienced.

It is also possible to develop a participation culture in which individuals believe their contributions are important and experience a sense of social connection with one another (at the least they care what other people think about what they have created).

In addition to significant encouragement for producing and sharing one’s works with others, 3.Through some sort of informal mentorship, in which what is understood by the most experienced is handed on to the most inexperienced In an environment where members believe that their contributions are important, and in which members feel a sense of social connection with one another (at the least they care what other people think about what they have created).

It is not necessary for every member to participate, but everyone must think that they are free to contribute whenever they are ready and that their contributions will be adequately recognized.

Despite the fact that technology has advanced significantly over the previous ten years, the work and concept remain relevant because, as Jenkins points out: “Interactivity is a characteristic of technology, but participation is a property of culture.” In an effort to make this piece reasonable, I’ll just highly recommend that everyone read the work in its entirety in order to fully appreciate it.

Consider, in particular, the 11 basic abilities that are listed in order to properly participate in society when using modern, social, participatory media.

When I went back over the concept again, there were two things that stood out to me: 4th, Appropriation is defined as the capacity to meaningfully sample and remix media content.

Consider the ease with which young culture may now engage in the following activities online to join in a global community:

• Create and share images
• Live-stream video
• Publish audiopodcasts
• Consume unique audiovisual content
• Video conference

Because of the significant technological advancements that have occurred in the last ten years, revisiting this work is more important than it has been in the past. Imagine trying to alter media content ten years ago. It was nearly impossible. It is probable that a strong desktop computer with a rather sluggish internet connection, as well as experience in video editing, will be required. Media may be captured, edited, remixed, and republished in a matter of seconds using even the most basic smartphone (video, audio, images and text).

• Just think about how prevalent social networks are now in society, compared to the fact that they did not exist even 10 years ago.
• Furthermore, young culture swiftly migrates and leaps from one social online arena to another for a variety of goals that are vastly different from one another.
• Jenkins’ views, once again, are extremely essential to reread and consider in light of the current situation.
• Because it is so crucial, I would argue that a stand-alone, isolated education on digital tools, citizenship, and online safety is just insufficient.
• It is appropriate to conclude with two remarkable remarks from Jenkins, which may be seen in the video attached above.
• Finally, the most succinct articulation of the role that educators must play in this ever shifting Participatory Culture.

Participatory Culture

Participatory culture is a relatively new idea that bases itself off of the sharing and collaboration between authors of every type. This canbe seen in the way laws are thought of, written up, passed through a series of checks and balances, before someone makes a decision to either sign it in or nullify it. Participatory culture is also evident in the construction of movies which require the collaboration and participation of actors, directors, writers, producers, and many others. In Henry Jenkins’ ” Confronting the Challenges of Participatory Culture,” he outlines five characteristics that define this topic, as follows:

1. With relatively low barriers to artistic expression and civic engagement
2. With strong support for creating and sharing one’s creations with others
3. With some form of informal mentorship whereby what is known by the most experienced is passed on to novices
4. Where members believe that their contributions matter
5. Where members feel some degree of social connection with one another (at the very least, they care what other people think about what they have created)
6. And with a strong sense of belonging and belongingness to one another.

This definition has grown and expanded with the rise and clash of new vs. old technologies withinmedia convergence. The internet has allowed for a multitude of new ways to build creative material using previously-made content through remixing or rewriting the originals. Leah Lievrouw discusses in her book “Alternative and Activist New Media” the conflicts within this common-based knowledge found available to the public online for collaboration. While there are some who argue for its benefits, critics may see collective production as “enriching investors,” that these commonfolk have no expertise in this area, and that the works produced have “no guarantee of quality” (Lievrouw 183).However, theamateurswho create their own works through this participatory culture do deserve some credit for their creativity. So much of what is produced today is a type of “remixed” work – take for examples how many movies claim to be based off of a novel or a true story.We discussed in class the idea of school as being a vector for participatory culture, in which the faculty would make the effort to have students’ work last longer than the assignment deadline. I thought that this was an important idea to examine because of my own experience as a college student and the fruitless hours I spend on so many papers and projects, which I leave untouched after the day that I submit them. Just as the classroom encourages discussion between each student, the internet may be used in an academic setting as a form of participatory culture where students can build meaningful, collaborative works that will last longer than their deadline.

Confronting the Challenges of Participatory Culture

Many teens today who use the Internet are actively involved in participatory cultures, including joining online communities (Facebook, message boards, game clans), producing creative work in new forms (digital sampling, modding, fan videomaking, fan fiction), working in groups to complete tasks and develop new knowledge (as in Wikipedia), and influencing the flow of media (as in the case of YouTube) (as in blogging or podcasting).

Growing evidence shows that these activities have potential advantages, including possibilities for peer-to-peer learning, the development of skills relevant in the modern workplace, and a more empowered notion of citizenship.

Despite the fact that some argue that young people learn these critical skills and competencies on their own through interaction with popular culture, the problems of unequal access, a lack of media transparency, and the breakdown of traditional forms of socialization and professional training suggest that policy and pedagogical intervention is necessary.

The authors claim that in order to foster these abilities, a systematic approach to media education is required; schools, afterschool programs, and parents all have specific responsibilities to play.

The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning are a collection of reports on digital media and learning.

Confronting the Challenges of Participatory Culture: Media Education for the 21st Century

Many teens today who use the Internet are actively involved in participatory cultures, including joining online communities (Facebook, message boards, game clans), producing creative work in new forms (digital sampling, modding, fan videomaking, fan fiction), working in teams to complete tasks and develop new knowledge (as in Wikipedia), and influencing the flow of media (as in the case of YouTube) (as in blogging or podcasting).

Growing evidence shows that these activities have potential advantages, including chances for peer-to-peer learning, the development of skills relevant in the modern workplace, and a more empowered notion of citizenship.

Though some argue that young people learn these essential skills and competencies on their own through their interactions with popular culture, the problems of unequal access, a lack of media transparency, and the breakdown of traditional socialization and professional training suggest that policy and pedagogical intervention may be necessary.

Schools, afterschool programs, and parents all have different responsibilities to play in developing these abilities, the authors suggest, and a holistic approach to media education is needed.

and Catherine T.

Participatory Media

A recent publication, Confronting the Challenges of Participatory Culture: Media Education for the Twenty-First Century, describes today’s society as one based on participation. The term “participatory culture” is used to describe how we are no longer just consumers of media, but producers, sharers, and collaborators. In that context, the works of digital writing in this collection are considered. In our global society, it is a relatively new concept that true participants are those who contribute to the body of knowledge—the ongoing conversation that permeates the world through email, Wikipedia, Tweets, YouTube, the Encyclopedia of Life, and a vast array of social networks in which new meanings and ideas emerge from the contributions of participants.

1. Technology has transformed education drastically in the last decade, and it was previously unthinkable that schools would really let children to participate in such unmanageable places as YouTube and Wikipedia.
2. Even weblogs, which are a very modest, user-managed format for digital writing, were formerly seen as an inappropriate venue that may damage children in many school districts, which has changed recently.
3. A student’s online presence is now widely acknowledged as a normal phenomenon—a tenet of contemporary society, education, and democracy.
4. Two fourth grade teachers, Robert Rivera-Amezola of Philadelphia and Katie McKay of Texas, provide a prism through which to observe the work of their students: the development of digital work for social change.

My classroom experiences at a Maine high school are also shared, including examples of student writing and multimedia produced in an environment where voice is seen as a critical and highly valued component of writing, and where that voice resonates best in a space where an authentic audience can be reached.

While both of them play video games, they are both preparing for a day when they will be full participants in society.

As a result of Biondi’s research of the 2008 study, The Civic Potential of Video Games, we might rethink the function of video games as an important educational tool, as well as an indication that the gamer may be a more tuned-in participant in society than many of us might have believed.

It is demonstrated in this book that writing digitally offers a means of blurring the line between observation and involvement, so generating opportunities for true engagement in influencing the debate and the direction of society.

Image courtesy of Michael Dornbierer’s collection. Obtainable through the use of a Creative Commons license from

Participatory Culture in the Classroom

I wrote about utilizing games in the ELA classroom last month, and in my initial draft, I included a line on participatory culture and affinity spaces, which you can read here. However, this issue is broad and, in my opinion, significant enough to need its own post. As a result, I discarded the paragraph and rolled up my sleeves to devote the time and attention it deserved to the subject. What is a Participatory Culture, and how does it work? User Generated Content (UGC) is the term used most commonly in the games industry to describe this phenomena, however I prefer the term “participatory culture” since it is more descriptive.

This sense of social closeness and accessibility are suggestive characteristics of a participatory society, according to the authors.

That was in 2007, when AOL and MySpace ruled the social media landscape, the first iPhone was released, and YouTube was still largely devoted to cat videos.

• 400 hours of YouTube footage, 1,200 blog pieces, and 55,000 Instagram photographs are all available.

That is a significant amount of stuff to consume and/or contribute to. Fortunately, participatory culture is frequently organized into subgroups, which democratizes involvement among users who have a shared interest or aim in a participatory culture. It is possible to build shared places for various groups to analyze information, discuss ideas, and produce material that they and the rest of the community believe is valuable because of technological advancements. If you are seeking for a more formal description of this topic, here is what you will find: As defined by Henry Jenkins in his paper ” Confronting the Challenges of Participatory Culture: Media Education for the Twenty-First Century “, participatory culture is “a culture with relatively low barriers to artists expression and civic engagement, strong support for creating and sharing one’s creations, and some type of informal membership whereby what is known by the most experienced is passed along to novices.

” As well as believing their contributions are valuable, participative cultures foster a sense of social connectedness among individuals.” What is the significance of this?

Podcasts, vlogs/blogs, fanfiction, fanart, game modifications, cosplay and prop production, short films, music, and games are just a few examples of the types of material that may be made through participatory culture.

Individuals may make a significant contribution in a fashion that is tailored to their specific skills as long as they have access to the internet.

The unfortunate reality is that many instructors still regard these activities as “frivolous” or “leisure-time pastimes that have little link to academic content.” The world of video games is characterized by high-value activities that are indicative of dynamic communities and very gifted individuals, according to our perspective.

In 2008, the taxonomy was changed to make it more applicable in a digital world.

Incorporating it into the curriculum For educators who wish to include parts of participatory culture into their classrooms, there are several options to consider:

• Allocate time for your students to complete one self-directed project every quarter, semester, or year. Coursework can include less formal creative output such as blogs, vlogs, podcasts, or game modifications. Make it a point to encourage your pupils to post their work online. Provide opportunities for peer-to-peer exchange and feedback of project work
• Create a class blog or YouTube channel where students may express themselves
• If your school has social capabilities built into its learning management system, use them into your classwork.

But there are a few things to consider before taking these first steps, which include the following:

• Because affinity spaces and groups are formed around a shared interest, they may contain ideas and opinions that are homogenized
• However, this is not always the case. Participatory culture, like many other online experiences, is plagued by issues such as trolling, plagiarism, and intellectual property theft. When individuals begin to demand free works or efforts in exchange for their participation, participatory culture and consumer culture frequently collide.

When students are exposed to participatory culture in their everyday lives, it is unreasonable to condemn them for being dissatisfied when they are not provided with the same opportunities for participation in the classroom. This post should have provided you with a slew of possible ideas, and we would love to hear them, as well as your views, in the comments below or via our Twitter feed. 1. Rebecca W. Black’s article “Online Fan Fiction and Critical Media Literacy” was published in 2009. Journal of Computing in Teacher Education, Volume 26, Number 2, Pages 75-80

Participatory Culture Foundation

A non-profit organization dedicated to fostering a more open and collaborative society. A really healthy society is one in which everyone may participate, interact, and gain from one another. PCF is committed to the development of technology, services, and communities that promote a more collaborative and inclusive society. Everyone may make a positive contribution to the peaceful and bountiful culture in which they wish to live via our efforts. Access to information is essential in order to achieve this goal.

Amara

Amara is dedicated to ensuring that all online media material is accessible to all users. Using this award-winning technology, it is simple to caption or subtitle video, to organize your own teams of volunteers or paid translators, and/or to purchase subtitles from our dedicated staff of professional linguists, all in one place. People from all around the world will be able to participate with Amara, which will help to bridge language and accessibility hurdles. A technological solution that encourages cooperation and inclusivity.

We are honored by the recognition, and we are encouraged to know that the work we are doing is having an impact.

Equality Award

It is the mission of Amara to ensure that all online media material is accessible to all people. Using this award-winning technology, it is simple to caption or subtitle video, to form your own teams of volunteers or paid translators, and/or to purchase subtitles from our dedicated staff of professional linguists, all in one place. People from all around the world will be able to participate with Amara, which will help to overcome language and accessibility hurdles. Collaboration and inclusivity are facilitated by technology.

Despite the recognition, we are encouraged by the fact that the work we are doing is having an impact.

Intercultural Innovation Award

Several organizations, including the United Nations Alliance of Civilizations and the BMW Group, have praised Amara’s contribution to the promotion of intercultural discussion and collaboration throughout the world.

Chairman’s Award for Advancement in Accessibility

The Chairman’s Award for Advancement in Accessibility was given to Amara by the Federal Communications Commission of the United States of America.

2014 Data and Society Fellow

The DataSociety Research Institute focuses on social and cultural concerns originating from data-centric technology progress.

In 2014, our Executive Director was one of twelve inaugural fellows. He co-organized a multi-disciplinary conversation on platform-based labor attended by leaders, scholars, labor organization representatives, policy experts, and others contributing to this burgeoning industry.

2017Berkman Klein Fellow

A multidisciplinary and varied community of academics and practitioners, the Berkman Klein Center for InternetSociety is dedicated to addressing the problems and possibilities presented by online. In 2017, our Executive Director had the opportunity to participate as a fellow. It was he who assisted in the coordination of the Cooperation working group, who shared the Amara narrative at a workshop on platform cooperativism, and who planned a Festival of Action.

Media Technology and Culture Change

People, communities, and cultures are encouraged to interact with new media in a way that allows them to both contribute to and take away knowledge from the medium. Participatory Culture is defined as the notion that diverse peoples, civilizations, and cultures are encouraged to participate with new media. Because of the digital age, the auteur can contribute material to their work by interacting with meta-media objects, which can contain (hyper-)text, photos, video, and audio in their interaction.

• The content of cultural material is influenced by television programs, commercials, and cinema.
• The fact that money is the driving force behind the flow of culture results in a stifled creative process.
• Due to the fact that the internet is now in the public domain, it has resulted in the opening up of ownership, since it allows consumers to trade material in real time and within seconds.
• MTVnetworks is attempting to appeal to what they call to as “media-actives” — a word that refers to a group of individuals born between the mid-1970s and the mid-1980s who have a “what I want, when I want it” attitude toward media — by developing more interactive programs.
• Promotion of fan culture is another method through which mass media aims to instill a sense of belonging and control in its audience.
• Similarly to what Henry Jenkins discusses in his book, Convergence Culture, the multi-million dollar Star Wars business takes use of the urge for engagement on the side of the audience.
• With the introduction of Second Life, the desire to exert control over and engage with one’s media environment has been pushed to even greater lengths.

Sources

Jenkins, Henry. “Convergence Culture.” Convergence Culture. The New York University Press published a book in 2006 titled

External Links

Participatory Culture.org is a non-profit organization dedicated to promoting participation in culture.