Produsers and Produsage

Canberra.
I'll admit that I've skipped the ANZCA AGM to check out the (excellent) Museum of Australian Democracy in the front wing of Old Parliament House - well worth a visit, and I can now say that I've crossed the floor in both houses of parliament. The next session at ANZCA 2010, then, starts with a paper by Anna Daniel, whose focus is on computational journalism: a response to the changes in news consumption and production through the greater use of software and technologies that support journalistic work. The belief is that this approach can benefit the quality of journalistm, and in doing so set apart papers which use it from their competitors.

With the Internet Turning 40 and International Communication Association conferences completed, I'm briefly back in Brisbane, before setting off for the Australia/New Zealand Communication Association (ANZCA) conference in Canberra next week (hopefully with a recharged audio recorder!).

In the meantime, here's a quick update on some new publications I've been involved in - a number of my recent book chapters on a range of topics have now been published:

First, with a chapter on "News Blogs and Citizen Journalism" in e-Journalism: New Media and News Media I'm introducing my work on gatewatching and citizen journalism to an Indian readership - the book was edited by Kiran Prasad, who was my office mate at the University of Leeds while I was there in 2007 to do some research for the produsage book, and was published by B.R. Publishing in Delhi. I don't think the publisher actually has a Website - but there's a good overview of the collection at Cyberjournalist, and it also includes contact details for BR Publishing.

Singapore.
The next speaker at ICA 2010 is Roger Cooper, who introduces the distinction between uses and gratifications (audiences are active and goal-directed, motivated to satisfy needs via media; analysis is on an individual level) and stuctural theories (audiences are passive and constrained, bound by availability, access, scheduling, and awareness of media - mainly TV - content; analysis is on the macro level).

There is a need to integrate both approaches, but how? First, nobody is simply active or passive - everyone is both, to varying degrees in various situations. Also, convergence weakens the influence of structure in the way it's been traditionally thought of; there is an abundance of media choices, and more control over them - media users increasingly employ search, ratings, links, and other ways of accessing content; they continue to function within constraints of time, cost, and access.

Singapore.
The next speaker at ICA 2010 is Espen Ytreberg, whose interest is in active audiences; does convergence and digitalisation empower users and make them more active and independent? The term itself certainly has spread far beyond academia, although interpretations may vary between different users of it. Espen's focus is on the attitudes at the management level in Norwegian media.

One working notion is characterised by statements such as 'the audience want to be active', and if it is held by media workers it has consequences for the future shape of media products regardless of whether it is true. It has become an institutional discourse - it is language doing work and creating new media models. Espen explored these processes through 45 interviews with managers in Norwegian TV, radio, and press who were decisionmakers on media products.

Singapore.
The final speaker in this session at ICA 2010 is Marc Verboord, who shifts our focus to the book market. Traditionally, book reviews in the conventional media had paramount authority; today, there are a number of alternative, peer-produced sources online - customer ratings and recommendations on Amazon, for example, as well as recommendations through social networking sites. So, is this part of a decline of cultural authorities? Does it democratise the market, from the grassroots up? Does it lead to (or result from) a larger, long-tail market for a wider range of books?

Singapore.
The next presenter at ICA 2010 is Aymar Christian, who continues our focus on YouTube: his interest is on music videos on the site, and he argues that music video remakes shared on YouTube are almost always fair use. User-generated music videos (riffing on official videos) are amongst the most popular genres on YouTube, following in a long tradition (also incorporating professional work, such as the Weird Al videos); music videos and their remakes stand in a postmodernist tradition that may critique representation and reject standard Hollywood narrative (not least also characterised by the emergenceof MTV.

Singapore.
The next presenter at ICA 2010 is Limor Shifman, who shifts our focus to YouTube and notes the rapid increase in the number of videos shared on the site (some 2000 more by the time this presentation is finished). There's a massive amount of people spending a massive amount of time on creating such videos - many of whom draw on existing videos by imitating and replicating them. YouTube videos which are taken up in this way are memes.

Memes are understood as similar to genes, reproduced by copying and imitation and undergoing subtle mutations in the process. The Net has further multiplied and accelerated memes; it is a paradise for memes (and for people who research them). Some such memes spread with no significant variation (Susan Boyle's Britain's Got Talent performance is one such example), while some serve as the basis for extensive user-generated parody and derivation.

Singapore.
Mel is followed at ICA 2010 by Jack Bratich, who highlights the importance of convergence outside of media convergence, and also introduces the idea of divergence as the opposite of convergence - what are the conditions for social antagonism as a form of divergence, and how is such antagonism dissuaded and diverted? Reality TV, for example, is a set of dividing and organising practices that might produce a new kind of antagonism around the programme as a kind of subject.

Second, as media are now incorporated into more conventional practices (warfare and the military is one example), what are the conditions of dissent? Jack introduces the idea of polemology as the study of warfare (which gave us de Certeau's work on strategies and tactics, for example), and suggests that Jenkins now argues that fans have already won the war, so there is no longer a clear antagonism between fans and producers; Jack suggests, by interest, further research into the phenomenon of user-generated discontent.

Singapore.
From this opening presentation in this convergence culture session at ICA 2010, we move on to a number of shorter presentations. The next speaker is Mel Gregg, who also problematises Jenkins's work - in this case, from a gender studies perspective (which she says is less present in Convergence Culture than in Jenkins's earlier work, e.g. Textual Poachers). Indeed, taking a historical perspective, Mel says that the boom in cultural studies publishing ended up marginalising gender studies scholarship, and the same might be happening again with the recent increase in works on convergence. This is a problem not least also in teaching, if students are now unable to find alternative voices.

Singapore.
The first full day of ICA 2010 starts with a session on convergence and culture, and a rather lengthy introduction, citing especially Henry Jenkins's work on convergence culture - however, historical perspectives on convergence, the geospatial distribution of convergence, the human and technological networks of convergence, the role of convergence beyond the media industries, the role of convergence in the creative industries, and the political implications of convergence all need to be considered further.