#Produsage

[gamora-borealis]

I think dan and phil are special but not because they are special people. like don't get me wrong, they are extremely talented and creative and funny and phil does seem to have inherited some kind of special intuition from his northern grandma but! there's a million other queer / neurodivergent people out there just like them... just as talented and intuitive or whatnot. what's special is that they were in the right place / right time to broadcast this unique kind of existence on a mass scale to a broad audience but more importantly a kindred audience. and they've kept it authentic by balancing their entertainment personas and working relationship with their real selves. It's like we've been watching a reality tv series about them for 15 years except they are the producers (who maybe exaggerate some things like producers do but, it's their own choices)... and they never meant for the show to make money but it did so yeah they need it to maintain their lifestyle now but in general their intentions are less clouded by clout or success compared to some influencers/creators out there. What's special is the insane parasocial relationship we have with them and they have with us that truly is a product of a specific context that I don't think will ever quite exist again. They learned from the first YouTubers and mastered the art form to the point where they are able to go on these huge tours that to this day no one can top because YouTube and the Internet have changed far too much with algorithms and advertising and etc. They are a testament to the lost dream of what the internet could be and a showcase of what can happen if you give gay dorks the perfect ingredients to build a media empire. and as a result we know them so intimately as they truly have been open about so much over 15 years and yet they've still kept so much private, to the point where there's still so much that people speculate on. It's like the perfect case study for Web 2.0 media produsage and digital community building amidst the decline of in-person connections because of the progression of capitalism... anyways if by chance there are any phannies getting degrees in media and communications and need help with paper topics and writing please hit me up I'm yearning for grad school again 😭

[davidlu123]

Week 12: Crowd sourcing in times of crisis

Understanding Crowdsourcing in the Digital Age

Crowdsourcing is commonly defined as the practice of soliciting ideas, services, or content from a large group of people particularly from online communities, instead of relying on traditional sources (Howe 2006). Although often associated with innovation and commercial design, this approach has taken on new significance in crisis communication. Social media platforms now allow decentralized groups of people to contribute critical, real-time information during natural disasters and emergencies. This form of networked collaboration reflects Pierre Lévy’s (1997) concept of “collective intelligence,” where disparate knowledge is pooled for a shared goal. The 2010 Haiti earthquake, where tools like Ushahidi mapped crisis information via SMS and Twitter updates, highlights how digital networks enable rapid, crowdsourced responses to urgent humanitarian needs.

Social Media as a Crisis Communication Infrastructure

Platforms like Twitter, Facebook, and Instagram have evolved into vital infrastructures for emergency response, as they allow both horizontal (peer-to-peer) and vertical (citizen-to-authority) communication (Ford 2012). During the 2011 Queensland floods, for instance, the Queensland Police Service (@QPSMedia) effectively used Twitter for real-time updates, myth-busting, and public reassurance. Posetti and Lo (2010) observed that such "Twitterisation" of emergency services challenged the ABC’s traditional broadcast model by encouraging multidirectional communication. While this decentralisation enables faster information flow, it also presents challenges related to coordination, misinformation, and overload. It highlights a fundamental shift in crisis management from closed, centralised models to more open, participatory ecosystems.

Verification and the Ethics of Information Sharing

Despite its benefits, crowdsourcing in crisis contexts introduces serious ethical and logistical issues, especially regarding verification. As Ping Lo (2012) notes, verified information can be a matter of life or death. The speed at which content spreads on social networks often outpaces the ability of emergency services to verify its accuracy, leading to the risk of panic, confusion, or even harm. The challenges faced by platforms like Ushahidi designed to map real-time citizen reports, illustrate the tension between inclusivity and credibility. This raises critical questions for media scholars: How do we ensure the reliability of user-generated content without undermining the democratic, open nature of these platforms?

Witnessing and Participatory Journalism

Crowdsourcing is not just about data, it also facilitates affective and symbolic participation. Horbury and Hughes (2010) argue that social networking sites become spaces where people “construct knowledge, shape memories, apportion praise and blame, and perform identities” after trauma. This is evident in the way users share images, stories, and personal experiences in the wake of disasters. Amateur footage, once overlooked by traditional media, is now central to how we visualize crises. This participatory turn reflects a broader shift towards what Bruns (2008) calls “produsage”, users as both producers and consumers of content. However, such participation also invites questions about emotional labor, trauma voyeurism, and digital ethics.

Towards Integrated Crisis Platforms

Moving forward, scholars and practitioners alike stress the need for better integration between official emergency services and crowdsourced platforms. Anderson (2012) notes that traditional command-and-control models often clash with the speed and openness of social media. Instead of resisting these shifts, agencies must embrace hybrid models that combine institutional authority with grassroots engagement. Initiatives like Crisis Commons and Digital Humanitarianism show how volunteerism, technology, and real-time information sharing can be coordinated for greater impact. However, this requires not just better tech, but also robust policies around accountability, privacy, and inclusivity.

Conclusion

Crowdsourcing in times of crisis embodies both the promise and perils of digital media. It empowers communities to act, document, and inform but it also exposes gaps in verification, coordination, and digital ethics. To harness its full potential, we must balance openness with accuracy and human solidarity with strategic planning.

References

Anderson, M 2012, ‘Integrating social media into traditional emergency management command and control structures: the square peg into the round hole?’, Australian Journal of Emergency Management, vol. 27, no. 1, pp. 54–59.

Ford, H 2012, ‘Emergent public authority and disaster media: From Haiti to Fukushima’, Media, Culture & Society, vol. 34, no. 6, pp. 763–778.

Horbury, A & Hughes, A 2010, ‘Social media after Black Saturday: Making sense of disaster, dealing with trauma’, Media International Australia, vol. 137, no. 1, pp. 144–147.

Lévy, P 1997, Collective Intelligence: Mankind’s Emerging World in Cyberspace, Perseus Books, Cambridge.

Posetti, J & Lo, P 2010, ‘The Twitterisation of ABC Emergency and Disaster Communication’, Journalism Research and Investigation, vol. 22, no. 3, pp. 33–38.

Howe, J 2006, ‘The rise of crowdsourcing’, Wired, vol. 14, no. 6, pp. 1–4.

Bruns, A 2008, Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage, Peter Lang, New York.

[v1821anna]

Exploring the impact of Tumblr in shaping digital communities Hey there, Tumblr newbies! 👋 Join me as we explore the captivating realm of digital communities and the significant impact that Tumblr has in shaping them. 🌟 Let's dive into the fascinating world of the public sphere, the ever-changing landscape of blogging, the awesome features of Tumblr, and how it has shaped user experiences and activism. Alright, let's get started! ✨

Sooo, what is public sphere? The public sphere is a concept that describes social and technological changes in society. It seeks to comprehend the role of mass media in democracy and social relationships (McKee, 2005). It is a place where private individuals can come together as a public, using reason to foster critical knowledge and effect political change. While its existence is still debated, media scholars argue that the traditional public sphere has given way to micro-publics, or digital communities (Bruns et al., 2012). Hmm, what about blogging 🤔? Since its inception in the middle of the 1990s, blogging has been instrumental in promoting self-expression and expanding the public domain. The term "weblog" was first used on Justin Hall's personal homepage, and it was eventually abbreviated to "blog" (Holbrook et al., 2006). Blogs are now a potent tool for exchanging thoughts, viewpoints, and experiences. Here's a short video talking about the history of blogging:

Now, let's talk about Tumblr! Tumblr was established in 2007 and has undergone several ownership changes. Verizon's acquisition of Yahoo in 2017 led to controversies and ultimately resulted in Automattic (owner of WordPress) acquiring Tumblr in 2019 (Pilipets and Paasonen, 2022). Tumblr's anonimity provides a secure environment for marginalised communities, including LGBTQI communities 🏳️‍🌈, to freely express themselves. An additional potent tool on Tumblr, hashtagging facilitates the discovery of content and community development. In contrast to alternative social media platforms, Tumblr enables users to peruse content without the requirement of following one another (Keller, 2019).

With regard to user experiences, Tumblr has been instrumental in promoting feminist activism and critique. Specifically, adolescent females have utilised Tumblr as a platform to participate in various forms of activism, wherein they voice apprehensions and bring attention to social issues (Keller, 2019). By employing social media platforms strategically, these young individuals have showcased their initiative, discernment, and expertise (Keller, 2019).

To summarise, Tumblr has become a dynamic medium that influences virtual communities and empowers individuals to express themselves. Its distinctive characteristics, including hashtagging and anonymity, contribute to the emergence of a variety of communication genres. #MDA20009 #digitalcommunities #publicsphere #blogging #Tumblr #activism #swinburne References Bruns, A., Highfield, T., & Lind, R. A. (2012). Blogs, Twitter, and breaking news: The produsage of citizen journalism. Produsing theory in a digital world: The intersection of audiences and production in contemporary theory, 80(2012), 15-32. Holbrook, D., Bird, R., & Enfield, J. (2006). Theorizing the Diary Weblog. http://www.ourboldhero.com/research/theorizing.pdf

Keller, J. (2019). “Oh, She’s a Tumblr Feminist”: Exploring the Platform Vernacular of Girls’ Social Media Feminisms. Social Media + Society, 5(3), 1–11. https://doi.org/10.1177/2056305119867442

McKee, A. (2005). The Public Sphere. Cambridge University Press.

Pilipets, E., & Paasonen, S. (2022). 'Nipples, memes, and algorithmic failure: NSFW critique of Tumblr censorship'. New Media & Society, 24(6), 1459–1480. https://doi.org/10.1177/1461444820979280 #MDA20009 #digitalcommunities #publicsphere #blogging #Tumblr #activism

[talenlee]

Minna No Boku No Hero Academia

Curious what you think of the permeability of shonen anime into the general consciousness, as seen in Everyone Making BNHA OCs. – Casey First things first shonen anime is and has been part of the general consciousness for about thirty years now. My dad knows who Tobor the 8 Man was even if he didn’t, at the time know it was Anime, and Astro Boy is an institution world-wide. What’s more Goku, from…

[izziestreamofconsciousness-blog]

Writing Space Review 3

My experience with Reddit and the users which exist in its electronic world has been mostly positive and thought provoking. When I posted about the musician’s role in social justice, my audience seemed to be very opinionated and willing to challenge my ideas, calling my questioning of pop culture in regards to social justice an example of me thinking I have an “ideological supremacy.” While I hadn’t considered this before, the Reddit audience made its point clear: diversity of ideas is crucial. 

This time around, I wanted to review the audience of Reddit in terms of their political beliefs. The posts that I saw first, meaning they received the most “upvotes” or engagement, seemed to all be left-leaning. When I delved into the comment section of these posts, the first comment was from a moderator which I found to set the tone for the rest of the comments. 

This gave me a clear window into the purpose of this particular Subreddit (or distinct forum which is based off of a certain theme). The r/politics forum is a platform for civil discussion of politics, which I find crucial to our current political atmosphere.

I found logical and civil discussions taking place on this post: https://www.reddit.com/r/politics/comments/ani32p/fox_news_hosts_not_coping_well_with_finding_out/

I also realized that the audience of Reddit do not fit into the demographic of extremely wealthy people, so their takes on this matter are somewhat biased. However, it was extremely heartening to see citizens engaged in critical political discussions in the absence of trolls. 

After reading these posts, I am confident that Reddit has exceeded my expectations of a writing space. The audience is what makes this happen: those engaged in discussion seem informed and opinionated, which makes for valuable conversation. 

[earlyowls-blog]

Our President Sings!!; Remix edition

Teman-teman mungkin sering melihat Pak Jokowi ketika sedang berpidato kenegaraan, melakukan wawancara dengan para reporter dan lain-lain, tapi apakah kalian pernah membayangkan Pak Jokowi bernyanyi? Eka Gustiwana, seorang youtuber Indonesia dapat memperlihatkannya kepada kalian dengan berbagai video remix nya. Melalui channel youtube nya eka membuat video yang berisi potongan-potongan kegiatan Jokowi, serta kalimat-kalimat yang diucapkan oleh Jokowi yang ia edit dengan tambahan musik seakan-akan pak Jokowi sedang bernyanyi. Video yang dihasilkan pun dapat membuat kita tersenyum bahkan tertawa karena eka memang betujuan untuk membuat video sebagai hiburan semata.

Apa yang dilakukan Eka Gustiwana ini merupakan remix/mashup, yang mana eka menggunakan kembali material yang sudah ada seperti lagu dan video wawancara atau video pidato kenegaraan pak Jokowi yang di dapatnya dari tayangan di televisi, yang kemudian dia produksi kembali sesuai dengan kreatifitasnya sehingga menghasilkan karya yang baru yaitu video pak Jokowi yang sedang bernyanyi.

Dalam buku Remix Making Art and Commerce yang ditulis oleh Lawrence Lessig, manusia kini tidak lagi memiliki budaya RO atau read only yang mana manusia hanya menikmati konten atau “membaca” konten. Kini dengan berkembangnya teknologi budaya yang berkembang menjadi budaya RW atau Read-Write yang mana selain membaca konten, audiens juga dapat memproduksi kembali konten yang ada atau konten yang baru sekalipun sesuai dengan kreativitas mereka. mereka dapat menambahkan, mengurangi, mencampurkan konten yang ada menjadi konten yang baru, remix/mashup ini salah satu perwujudannya. 

Konsep Read and write ini sejalan dengan konsep produsage yang diperkenalkan oleh axel bruns yang mana pengelolaan konten kini berfokus pada audiens sehingga prosesnya merupakan proses yang tidak akan pernah berakhir karena audiens kan terus menerus memproduksi konten sesuai dengan yang mereka mau.

Eka Gustiwana merupakan satu dari sekian banyak audiens yang membuktikan bahwa kini konten tidak hanya read only tetapi juga read and write

Video: Akun Youtube Eka Gustiwana Our President Sings 01: Pak Jokowi suka musik apa? (Duk jekduk jekduk) https://www.youtube.com/watch?v=1YdxGT35c4I Our President Sings 02: Perdamaian - Nasida Ria (Jokowi Cover) https://www.youtube.com/watch?v=C9HmeugdN3s

Referensi: Lessig, Lawrence. Remix making art and commence

Bruns, Axel. 2010. Distributed Creativity: Filesharing and Produsage

[acopyofourminds-blog]

Fandom for Remix Culture

Fandom, seperti yang kita ketahui, banyak berkontribusi terhadap arus konten yang ada, terutama di internet. Mereka membuat fanfiction, meme, mashup lagu, hingga membuat video mengenai idolanya. Biasanya para fans memanfaatkan channel-channel seperti Youtube untuk mempublikasikan karya-karya kreatif mereka. Tidak hanya terjadi di Barat, hal ini pun terjadi di dunia K-Pop. Seperti video di atas, channel Youtube bernama  iHateSnakeuProductions //WeeklyKpop, banyak membuat Fanmade MV versi mereka untuk lagu-lagu K-Pop.

Lagu berjudul Am I Wrong dari BTS tersebut adalah salah satu karyanya, karena lagu ini tidak memiliki Official MV dari BigHit Entertainment, ia pun membuat MV versinya sendiri. Ia menggabung-gabungkan clip dari MV dan Short Film BTS dan menjadikannya MV baru dengan kualitas yang tidak kalah dari Official MV pada umumnya. Banyak yang mengira video tersebut adalah Official MV dan bahkan FMV ini pernah ditayangkan di stasiun TV suatu negara.

Video di atas adalah salah satu contoh bentuk dari budaya remix yang dilakukan oleh fandom. Karena kecintaannya terhadap idolanya, mereka membuat karya-karya kreatif untuk dapat di-share dengan fans lain dan membuat artis mereka lebih dikenal. Hal ini merupakan fenomena yang tidak bisa dihindari oleh sang artis, ditambah lagi dengan semakin mudahnya konsumen melakukan praktik produsage. 

[danandphilartefact]

Bibliography

- Bruns, A. (2016) "Prosumption, Produsage," in Jensen, K. B.; Craig, R. (eds) The International Encyclopedia of Communication Theory and Philosophy.  JohnWiley & Sons, Inc. - Burrell, I. 2013. Dan & Phil: The YouTube stars tasked with bringing new young listeners to Radio 1. Online. Available at: https://www.independent.co.uk/news/media/tv-radio/dan-phil-the-youtube-stars-tasked-with-bringing-new-young-listeners-to-radio-1-8639836.html?r=17008   - Cynicalromanticaf. July 14th 2019. [online]. Available at: https://cynicalromanticaf.tumblr.com/post/186274909140/ill-ding-myself-if-you-dont-ding-me-and. [Accessed 11th April 2022]. - Djhquiff. March 7th 2019. [online]. Available at: https://djhquiff.tumblr.com/post/183299044737/i-dont-understand-how-a-six-foot-man-can-be-so. [Accessed 11th April 2022]. - djhquiff. October 19th, 2021. [online] Available at: https://grrten.tumblr.com/post/665451822115438592/happy-12-years [Accessed 11th Apr. 2022]. - Goodman, Cynthia. “The Digital Revolution: Art in the Computer Age.” Art Journal, vol. 49, no. 3, 1990, pp. 248–52, https://doi.org/10.2307/777115. - Grrten, October 19th 2021. [online]. Available at: https://grrten.tumblr.com/post/665451822115438592/happy-12-years. [Accessed 11th April 2022]. - Henry Jenkins. Textual Poachers: Television Fans and Participatory Culture. Taylor and Francis, 2012. Web. - Howell, D. 2022. Daniel Howell. Available at: https://www.youtube.com/user/danisnotonfire. Online. - Howell, D. December 8th 2015. [online]. Available at: https://www.bing.com/videos/search?q=the+urge+dan+howell&docid=608022899603500023&mid=C231A5E9BFC97EF94987C231A5E9BFC97EF94987&view=detail&FORM=VIRE. [Accessed 11th April 2022]. - Jenkins, H. (2006) Convergence Culture: Where Old and New Media Collide. New York & London: New York University Press. Chapter 1 ‘Worship at the Alter of Convergence’. - Lamerichs, Nicolle. “Shared Narratives: Intermediality in Fandom.” Productive Fandom: Intermediality and Affective Reception in Fan Cultures, Amsterdam University Press, 2018, pp. 11–34, https://doi.org/10.2307/j.ctv65svxz.4. - Lester, P. 2022. Available at: https://www.youtube.com/c/AmazingPhil. Online. - Lonelylestowell, March 19th 2018. [online]. Available at: https://lonelylestowell.tumblr.com/post/172031966144/dan-and-phils-life-in-a-nutshell-pt-2phil-hey/ [Accessed 11th April 2022]. - Polkadotphan. December 19th 2016. [online]. Available at: https://polkadotphan.tumblr.com/post/154665068191. [Accessed 11th April 2022]. - Polkadotphan. February 19th, 2017. [online]. Available at: https://polkadotphan.tumblr.com/post/157428259251/phans-bi-girl-phan-is-literally-on-fire. [Accessed 11th April 2022]. - Polkadotphan. January 17th 2017. [online]. Available at: https://polkadotphan.tumblr.com/post/156021999716/starscream-this-image-made-me-break-into-a-cold. [Accessed 11th April 2022]. - Ritzer, George, Paul Dean, and Nathan Jurgenson. “The Coming of Age of the Prosumer.” The American behavioral scientist (Beverly Hills) 56.4 (2012): 379–398. Web. - Succubusphan, December 5th 2021. [online]. Available at: https://succubusphan.tumblr.com/post/669749219677077504/the-box-under-the-bed. [Accessed 11th April 2022]. - Til-death-do-we-art. 7th June 2021. [online]. Available at: https://til-death-do-we-art.tumblr.com/post/653393402717667328/so-happy-for-danielhowell-and-amazingphil-and. [Accessed 11th April 2022].

[breckcarter]

Social media can be serious too - Week 9

Arguably one of the best things about social media is that it provides people who aren’t usually given a voice by traditional broadcast media a platform to speak their truth. Social media has changed the way activism works, as minority groups are able to reach large audiences in ways previously not possible.

Just over the past couple of weeks the Black Lives Matter movement was once again shown to be imperative, with video footage leaked online of jogger Ahmaud Arbery shot dead by two white men (Evelyn 2020). Digital communities of people of colour shared the video, making it go viral and as a result change was made. Despite the video being controversial due to its confronting matter, audio recordings, online petitions and traditional media attention has come about as a result (Shah 2020) . Now, further investigation has been undertaken and Gregory and Travis McMicheal have been arrested after initial reluctance to press charges. Politics has become involved too, with Donald Trump even making a statement to express his condolences. None of this would’ve happened without social media aided activism.

Like the students involved in the Marjory Stoneman Douglas High School shooting in Florida which killed 17, for anyone who feels that their voice isn’t being heard, “social media shrewdness has allowed them to take control of the narrative” (Alvarez, Lauzon & Zaiontz 2019, p. 1). Social media clearly has a lot of power to bring about changes in the political landscape as minority groups participate in online activism surrounding anything from Black Lives Matter to #MeToo to elections.  As Whelan states, “decision makers are influenced by visible and invisible factors”, which includes tactics of online activists that are purposely trying to influence political leaders (2020).

As produsers (Bruns 2006, p. 2), sharing links on our Facebook page, reposting onto our Instagram stories or even reblogging another post on our Tumblrs makes a big difference, as it spreads awareness and educates others. Many of us feel that it is our responsibility to use the voice social media gives us for good. While some believe it’s not productive, I think that it has the potential to start conversations and that just a little bit of recognition is better than nothing. As demonstrated above, social media has potential to bring about significant changes in society and it shouldn’t be underestimated.

References:

Alvarez N, Lauzon, C & Zaiontz, K 2019, ‘On Sustainable Tools for Precarious Times: An Introduction’ in Alvarez N, Lauzon, C & Zaiontz K (eds) Sustainable Tools for Precarious Times (Contemporary Performance InterActions), Palgrave Macmillan, Switzerland, pp. 1-25.

Bruns, A 2006, ‘Towards Produsage, Futures for User-Led Content Production’ in Sudweeks, F, Hrachovec, H & Ess, C (eds), Proceedings Cultural Attitudes towards Communication and Technology, Murdoch University, Estonia, pp 275-284.

Evelyn, K 2020, ‘Ahmaud Arbery killing reignites debate over sharing graphic viral videos’, The Guardian, 7 May, viewed 12 May 2020, <https://www.theguardian.com/us-news/2020/may/07/ahmaud-arbery-video-shooting-sharing-viral>.

Shah, K 2020, ‘Ahmaud Arbery killing: man called 911 to report ‘black male running’ prior to shooting’, The Guardian, viewed 12 May 2020, <https://www.theguardian.com/us-news/2020/may/07/ahmaud-arbery-killing-man-called-911-report-black-male-running-shooting>.

Whelan, J 2020, ‘Theories of Change’, The Change Agency, viewed 12 May 2020, <http://www.thechangeagency.org/theories-of-change/>.

[lavieestbellebelle]

Creating Communities through Gaming & Social Gaming (week 10)

Admittedly, I don’t have very much experience or prior knowledge of the gaming world, so I found this week’s lecture and readings quite intriguing to learn more about the ways in which gaming fosters digital communities. Taylor Hardwick researches inclusion within video game communities, and gave a fascinating presentation featuring a range of definitions of social gaming and deconstructed a number of common myths surrounding gaming.

According to Taylor Hardwick, whilst the notion of playing games is most commonly associated with young children, “play transcends age, gender and cultural boundaries” and can be considered an essential aspect of the human condition (Hardwick 2020). Similarly, philosopher Bernard Suits, describes playing games as “the voluntary attempt to overcome unnecessary obstacles” (Suits 1978, p. 41). Gaming is often perceived as a world of its own, with myriads of intense gamers, typically anti-social men, commonly referred to as ‘the lone gamer’, who play violent video games and troll each other online.

A key element of games is that they’re “inherently social” (Hardwick 2020) because they always involve people in some shape or form, and are based around interaction and engagement. Taylor Hardwick describes social gaming as a “genre of games that revolves around social networking sites”, which became popularized in the late 2000s and early 2010s. Social games are played online and utilize existing social networks to foster interactivity and connection (Hardwick 2020). For instance, well-established game producers ‘Zynga’ (Farmville) and ‘King’ (Candy Crush) were arguably the first to tap into the user-base and networked structure of social networking sites. Whilst Facebook, and now Facebook Gaming, is a well-known social media platform, it is only one example of social network and mobile games. Some other popular platforms include ‘Gillespie’, ‘Steam’ and ‘Discord’, which is an extremely popular communications platform created by gamers for gamers as a way to communicate with friends while playing games online. Therefore, social games has ultimately led to the diversification of the demographics of people who play video games, and formed a participatory culture involving active social communities based on particular games, as well as an “assemblage of smaller communities that players flow between” (Hardwick 2020).

Continuing on from the idea of the formation of digital communities through games, American media scholar, Henry Jenkins, proposes the concept of “knowledge communities” (Jenkins 2006, p.25). Jenkins believes “knowledge communities” are “held together through the mutual production and reciprocal exchange of knowledge” (Jenkins 2006, p.136). Put simply, this is when players and game developers create external spaces to post additional gaming-related information and content, which can be shared through wikis, blogs, forums, fan-pages and walk-throughs. Ultimately, Hardwick contends that “knowledge communities” allow players to experience games in a multitude of ways and “grow the game world into something that is external to the game itself” (Hardwick 2020).

‘Modding’ is another aspect of the video gaming community that further highlights the interactive and collaborative nature of gaming. ‘Mod’ is short for the modification of a video game, and is a form of player production that involves top-tier gamers experimenting with games to create a ‘modified’ version of the game. Therefore, ‘modding’ is an example of Axel Bruns notion of the ‘prosumer’ (Bruns 2009), whereby commercial operators (gaming developers and companies) are allowing ‘produsage communities’ (gamers) to participate in the production process and contribute their skills and talents to develop innovative games (Bruns 2012, p. 817).

Prior to the advent of modern video games such as Xbox, console, interactive apps and virtual reality headsets; social games can be traced back to arcade games, which reintroduced the idea that adults could ‘play’, local multiplayer, and the online multiplayer; which ultimately developed to include social media, mobile games and the online streaming platforms many people know and love today. Fast-forward to the present day, where there are now a number of video game streaming platforms used by gamers focused around spectatorship, including ‘Twitch’, YouTube, Facebook Gaming and Microsoft Mixer. ‘Twitch’ is arguably one of the most popular of these platforms, and is focused on the “rhetoric around community and creating a space for fun” (Hardwick 2020). Whereas, YouTube Gaming has recently made the decision to focus their platform on investing in creators, such as the incredibly famous Swedish YouTuber, ‘PewDiePie’, and intends to make itself a strong streaming platform competition to ‘Twitch’.

Therefore, it is evident that video games aren’t simply a fun pass-time for bored and anti-social teenage boys. In fact, the gaming industry, particularly social gaming, is much more complex and multi-faceted, and a cutting-edge digital landscape which continues to create online spaces for everyday people, in the form of gamers, to express themselves, interact and engage with others, and work together to develop the games they enjoy playing even further.

Image Source: Unknown via Pinterest

References

Bruns, A 2012, ‘Reconciling community and commerce?’, Information, Communication & Society, vol. 15, no. 6, pp. 815-835.

Gialouris, C 2017, ‘Social gaming: It’s bigger than you think’, The Drop, 6 November, viewed 23 May 2020, <https://the-drop.com.au/social-gaming-its-bigger-than-you-think/>.

Hardwick, T 2020, ‘Lecture 10. Gaming communities, social gaming and live streaming’, MDA20009 Digital Communities, Learning material via Canvas, Swinburne University of Technology, 20 May, viewed 20 May 2020.

Jenkins, H 2006, Convergence culture: Where old and new media collide, New York University Press, New York.

Sinha, R 2018, ’15 biggest Fortnite controversies that shocked players (maybe)’, Gaming Bolt, 27 September, viewed 23 May 2020, <https://gamingbolt.com/15-biggest-fortnite-controversies-that-shocked-players-maybe>.

Suits, B 1978, The Grasshopper: Games, life and utopia, University of Toronto Press, Toronto.

Taylor, TL 2018, Watch Me Play: Twitch and the Rise of Game Live Streaming, Princeton University Press, Princeton.

[digitalsocietyblogger-blog]

Why do journalists use social media?

Source: LMS

Traditional consumption of conventional media such as television or print paper has been on the decline for the past decade. As a result, news organisations changed their business strategy and merged with new media forms through the internet (Ahmad, 2018). Because of that, social media is now the most popular source of information for young adults (Newman, 2018). As clear as it is why news organisation had to move their news content online, it may still seem unclear to why journalists have their own personal profiles on social media. This blogpost will get to the bottom of this, just hold on tight!

Many journalists use the social media sphere to share their personal opinions on certain topics. For instance, CNN’s Hala Gorani believes that the doctors and nurses should be honoured for their battle with the coronavirus. And by sharing such popular opinions, journalists form a relationship with their followers (Noguera-Vivo, 2013). Consequently, they gain more following, meaning that intentionally or unintentionally they utilise the platform to brand themselves (Molyneux & Holton, 2015). 

On the other hand, one could give an example of Piers Morgan’s opinion on exposing Boris Johnson and question his motives because since he is already well-branded, why does he use Twitter to share his opinions? It’s quite simple, established journalists need to continue posting to stay relevant because otherwise, the upcoming journalists will take their spot (Powers & Vera-Zambrano, 2018).

Whether it’s Bryan Alvarez reporting on wrestling charts or whether it’s Laura Kuenssberg reporting on coronavirus; journalists use social media platforms as a working tool to get the news across. One of the first journalists to report on social media were Paul Lewis and Ravi Somaiya as they kept the Twitter realm up to date with the London Riots in 2011, and by doing so they attracted new followers to their Twitter feed (Vis, 2013).

Source: Twitter

However, Twitter or any other social media platform for that matter does not pay the journalists for reporting. Meaning that most of their work on social media is done for free. With that being said, when they post they represent the news organisations that they are employed by, and that lures the readers to go on the news organisation websites (Bruns, 2012). When that happens, news organisations earn money from the advertisers on their websites (Sentance, 2018). To simply put, the more people access the website, the more money organisation earns from the advertisers. And essentially that revenue can be used to pay the journalists for their work on social media.

While journalists take advantage of social media, there are obstacles that challenge their professionalism because what’s fascinating about social media is that every user can report on the news. Such reporting is referred to as citizen journalism where people voluntarily contribute to sharing the news (Bruns et al., 2012). In theory, that’s great because people can report on their local events as these do not often concern news organisations. However, in a citizen journalism study, Chadha & Steiner (2015) found out that professional journalists were concerned about the accuracy and truth of citizen’s information because if the news was indeed false, then the reputation of journalists on social media could decrease.

Nevertheless, there aren’t any studies that would indicate people trust the journalists less because of citizen journalism. Thus, I argue that social media is a fantastic tool for anyone who would like to contribute to society by producing news. In terms of professional journalists, whether it is for self-branding or news reporting, they see financial value in social media and essentially that is why they use it.

Word Count: 598

References:

Ahmad, N. (2018). The decline of conventional news media and challenges of immersing in new technology. eSharp, 25(1), 71-82.

Bruns, A. (2012). Journalists and Twitter: How Australian news organisations adapt to a new medium. Media International Australia, 144(1), 97-107.

Bruns, A., Highfield, T., & Lind, R. A. (2012). Blogs, Twitter, and breaking news: The produsage of citizen journalism. Produsing theory in a digital world: The intersection of audiences and production in contemporary theory, 80(2012), 15-32.

Chadha, K., & Steiner, L. (2015). The potential and limitations of citizen journalism initiatives: Chhattisgarh’s CGNet Swara. Journalism Studies, 16(5), 706-718.

Molyneux, L., & Holton, A. (2015). Branding (health) journalism: Perceptions, practices, and emerging norms. Digital journalism, 3(2), 225-242.

Newman, N. (2018). Journalism, media and technology trends and predictions 2018. Social Science Research Network. Retrieved from https://ora.ox.ac.uk/objects/uuid:45381ce5-19d7-4d1c-ba5e-3f2d0e923b32

Noguera-Vivo, J. M. (2013). How open are journalists on Twitter? Trends towards the end-user journalism. Communication & Society, 26(1), 93-114.

Powers, M., & Vera-Zambrano, S. (2018). How journalists use social media in France and the United States: Analyzing technology use across journalistic fields. New Media & Society, 20(8), 2728-2744.

Sentance, R. (2018, November 22). What is paid search (PPC) and why do you need it? Econsultancy. Retrieved from https://econsultancy.com/what-paid-search-ppc/ [Accessed May 3, 2020].

Vis, F. (2013). Twitter as a reporting tool for breaking news: Journalists tweeting the 2011 UK riots. Digital journalism, 1(1), 27-47.

[otwbearulingclass-blog]

Watch out for watch cut!

Seru-seruan sama keluarga, kakak, adek, pacar, bahkan MANTAN PACAR.

Watch cut-in aja!

Erika Maya P.J. - 1606916106

[techmass-blog1]

Budaya Remix Dalam Industri Musik

Budaya remix memang sebuah hal yang lumrah dalam industri musik, terutama dalam genre Electronic Dance Music atau yang biasa dikenal dengan EDM. Sebenarnya, tidak hanya musisi atau seniman yang dapat melakukan budaya remix ini, melainkan budaya ini telah meluas ke seluruh kalangan konsumen dan memungkinkan semua masyarakat menjadi prosumer. 

Flume adalah DJ asal Australia yang terkenal dengan garapan lagu electronicnya yang memiliki vibes yang berbeda dengan DJ lainnya, juga tidak jarang grup musik ini melakukan remix terhadap lagu-lagu musisi lainnya. Salah satu lagu yang terkenal adalah saat Flume melakukan remix terhadap lagu Disclosure yang berjudul You and Me. Lagu garapan DJ duo asal Inggris ini adalah salah satu best hits mereka yang seringkali dimainkan di setiap penampilannya. 

Saat Flume melakukan remix terhadap lagu Disclosure, tentu saja hal ini menjadi sebuah gebrakan baru dalam industri musik. Ibaratnya, kedua DJ ternama saling berintegrasi dalam sebuah karya seni. Tidak heran, lagu remix ini langsung menjadi favorit banyak fans, bahkan banyak fans yang lebih menyukai garapan remix ini dibandingkan lagu aslinya karya Disclosure. Saya pribadi yang lebih memilih versi aslinya pun tetap menganggap versi remix dari Flume ini memang begitu enak didengar, bahkan memiliki vibes yang lebih relaxing seperti ciri khas Flume pada umumnya. 

Bagaimana dengan isu copyright? Apakah lagu remixing ini legal? Ya, tentu saja lagu ini legal karena teah memiliki izin dari musisi yang bersangkutan, yaitu Disclosure sendiri. Namun, bukan tidak mungkin bahwa royalti yang didapatkan Flume bisa jadi lebih besar ketimbang yang didapatkan Disclosure, berhubung lagu ini mendapatkan lebih banyak views dan lebih disukai kebanyakan konsumen. 

Jika sudah begini, apakah budaya remix ini sebenarnya meguntungkan bagi kreator aslinya? Atau, justru malah merugikan? Hanya konsumen dan teknologi lah yang dapat menjawab semua itu. 

Adelia Dinda Sani / 1506727734

[izziestreamofconsciousness-blog]

Writing Space Review 2

For my newest Reddit post, I chose to ask the Redditors or r/WeAreTheMusicMakers another question because I valued the intellect and dynamic thought they expressed in their replies to my previous post. 

I’ve realized what I value in a writing space is mature dialogue which seeks to further the understanding of every contributor involved. This type of dialogue creates valuable produsage in a writing space--as new ideas are brought forth in the forums, onlookers can further their own knowledge and contribute unprecedented ideas. 

I saw this in a large scale on my first post, as users were contributing to the dialogue and raising questions that wouldn’t have been asked if not for another user’s reply, and so on.

I value this particular forum, WeAreTheMusicMakers, because it pertains to my interests and allows me to connect to musicians who may have more experience and knowledge, which in turn allows me to incorporate those ideas into my practice and become a better creator. 

When I posted this question in the thread, I received two thoughtful responses, one of which I haven’t ever heard before. This is why I value Reddit--ideas from across the globe can come together. 

https://www.reddit.com/r/WeAreTheMusicMakers/comments/an7z4t/how_to_write_moving_lyrics/

[earlyowls-blog]

Kaskus: Apapun bisa kutulis disini!

Selama berselancar di Internet, pernahkah kalian mengunjungi website kaskus.co.id? Setelah kalian mengunjugi website tersebut apa yang kalian lihat? Berbagai artikel yang ditulis oleh orang yang tidak kalian kenal yang viewer’s atau likes nya hingga ribuan? Atau gambar-gambar barang yang dijual online? Yep! Kurang lebih seperti itulah gambaran mengenai website kaskus.co.id ini

Di Kaskus kita bisa menulis artikel apapun yang kita suka, orang lain dapat mengomentari artikel yang kita buat maupun sebaliknya, dengan membuat akun semuanya dapat dilakukan. Apabila kita lihat kaskus secara seksama, kini kaskus menambahkan fitur baru yaitu jual beli online sehingga siapa pun dapat menjual dan membeli barang yang diinginkan dengan mudah.

Hampir seluruh artikel yang ada di kaskus ditulis oleh pengguna-penggunanya yang terdaftar, tulisannya pun beragam dari mulai gossip hingga berita dan semuanya dapat dilihat oleh pengunjung yang tidak memiliki akun sekalipun.

Kaskus bisa jadi merupakan salah satu penerapan konsep produsage yang dicetuskan oleh Axel Bruns, yang mana khalayak menjadi fokus dalam proses menghasilkan dan menggunakan suatu konten yang ada, khalayak dapat memberikan komentar, rate/bintang. Mulai dari konsep collective intelligence hingga citizen journalist dapat kita temui di kaskus ini Referensi: Bruns, Axel (2007). Produsage: Towards a Broader Framework for User-Led Content Creation.

[acopyofourminds-blog]

The-Latest adalah portal berita yang disediakan khusus untuk para citizen journalist Inggris. Situs ini memperbolehkan siapapun untuk mendaftar sebagai kontributor dengan mengirimkan email kepada mereka. Para kontributor pun dapat berbagi tulisan, foto, dan video mengenai hal-hal menarik yang terjadi di sekitar mereka. Tidak hanya itu, The-Latest pun menyediakan kiat-kiat untuk menulis yang baik, cara mendapatkan bahan untuk tulisan, serta pedoman untuk konten yang dibuat oleh para kontributor. Dengan menggandeng jurnalis profesional sebagai editornya, situs yang berdiri sejak tahun 2006 ini berusaha agar konten yang dibuat para kontributor sesuai dengan kriteria berita yang baik dan terpercaya.

Izza Namira - 1506736442