Pub Date : 2020-06-28DOI: 10.1080/15405702.2020.1781857
Marco Berlinguer
ABSTRACT The Free and Open Source Software (FOSS) movement has been a crucial source of inspiration and theorization for the contemporary rediscovery of the commons. However, its growing organic integration into the industry, into the market and into a group of innovative forms of capitalistic competition is challenging the early interpretations of this phenomenon and, at the same time, is shedding new light on the forms that these new commons can take and on the potential role they will play in the new productive arrangements that are emerging on the frontier of the digital revolution. This article engages with these new evolutions and develops innovative approaches to this phenomenon. Specifically, it makes an original contribution in two directions. The first is by developing a new framework for analyzing the relationships between commons and markets. The framework is organized under three concepts: semi-commons, shared infrastructures and creation of ecosystems. As a whole, the framework highlights the importance of studying these new commons within hybrid combinations of regimes of property and economic appropriation. The second contribution is the development of interpretative keys for analyzing the evolution of the FOSS ecosystem. This is carried out through the experimental application of two frameworks of analysis to this phenomenon: the multi-level perspective and the theory of the techno-economic paradigms. These contributions allow us to draw conclusions regarding new directions for research and policy on FOSS and the new commons.
{"title":"NEW COMMONS: TOWARDS A NECESSARY REAPPRAISAL","authors":"Marco Berlinguer","doi":"10.1080/15405702.2020.1781857","DOIUrl":"https://doi.org/10.1080/15405702.2020.1781857","url":null,"abstract":"ABSTRACT The Free and Open Source Software (FOSS) movement has been a crucial source of inspiration and theorization for the contemporary rediscovery of the commons. However, its growing organic integration into the industry, into the market and into a group of innovative forms of capitalistic competition is challenging the early interpretations of this phenomenon and, at the same time, is shedding new light on the forms that these new commons can take and on the potential role they will play in the new productive arrangements that are emerging on the frontier of the digital revolution. This article engages with these new evolutions and develops innovative approaches to this phenomenon. Specifically, it makes an original contribution in two directions. The first is by developing a new framework for analyzing the relationships between commons and markets. The framework is organized under three concepts: semi-commons, shared infrastructures and creation of ecosystems. As a whole, the framework highlights the importance of studying these new commons within hybrid combinations of regimes of property and economic appropriation. The second contribution is the development of interpretative keys for analyzing the evolution of the FOSS ecosystem. This is carried out through the experimental application of two frameworks of analysis to this phenomenon: the multi-level perspective and the theory of the techno-economic paradigms. These contributions allow us to draw conclusions regarding new directions for research and policy on FOSS and the new commons.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"52 7","pages":"201 - 215"},"PeriodicalIF":1.1,"publicationDate":"2020-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1781857","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41310339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-26DOI: 10.1080/15405702.2020.1781860
Ebru Yetişkin
ABSTRACT Today we are confronted with an ever-increasing tactical control of rights to access, use and store data as a shared resource. Control of commons and commoning has never before been this computed, obfuscated and systematized in the history of mass communication. This article explores collective knowledge production networking, and self-organized community building, which are grounded on commons-based artistic intervention and political struggle. Focusing on the practices of Networks of Dispossession (2013 – present), which collectively compiles publicly available data and maps the exploitative and tactically obfuscated relations of capital and power in Turkey, findings reveal an emerging way of commoning that produces situated knowledges by information artifacts, material evidence, aesthetic forms and civic resistance. Departing from Science, Technology and Society (STS) studies, the article explores and introduces a distinctive notion of commoning, which is conceptualized as paratactic commoning.
{"title":"Paratactic commoning: collective knowledge production networking as political struggle","authors":"Ebru Yetişkin","doi":"10.1080/15405702.2020.1781860","DOIUrl":"https://doi.org/10.1080/15405702.2020.1781860","url":null,"abstract":"ABSTRACT Today we are confronted with an ever-increasing tactical control of rights to access, use and store data as a shared resource. Control of commons and commoning has never before been this computed, obfuscated and systematized in the history of mass communication. This article explores collective knowledge production networking, and self-organized community building, which are grounded on commons-based artistic intervention and political struggle. Focusing on the practices of Networks of Dispossession (2013 – present), which collectively compiles publicly available data and maps the exploitative and tactically obfuscated relations of capital and power in Turkey, findings reveal an emerging way of commoning that produces situated knowledges by information artifacts, material evidence, aesthetic forms and civic resistance. Departing from Science, Technology and Society (STS) studies, the article explores and introduces a distinctive notion of commoning, which is conceptualized as paratactic commoning.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"216 - 232"},"PeriodicalIF":1.1,"publicationDate":"2020-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1781860","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44084791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-07DOI: 10.1080/15405702.2020.1772972
P. Booth
Branded escape rooms reveal points of tension between fan engagement and authorized content creation. Escape rooms are live-action puzzle games in which groups of participants are locked in a room ...
{"title":"Between fan and player","authors":"P. Booth","doi":"10.1080/15405702.2020.1772972","DOIUrl":"https://doi.org/10.1080/15405702.2020.1772972","url":null,"abstract":"Branded escape rooms reveal points of tension between fan engagement and authorized content creation. Escape rooms are live-action puzzle games in which groups of participants are locked in a room ...","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"1 1","pages":""},"PeriodicalIF":1.1,"publicationDate":"2020-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1772972","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45921289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-14DOI: 10.1080/15405702.2020.1744609
Andreas Lenander Aegidius
ABSTRACT This article presents an interrogation of streamification, a concept that addresses the influence of streaming software on cultural artifacts and uses. I argue that the streamification builds on an underlying tangle of transcodes. I base this on empirical findings from a qualitative study of digital online music uses and the technologies that operate beyond the interface of streaming media. I map the typical online path of music files and exemplify the tangle of transcodes with three empirical cases and detail their meaning-making processes: 1) The most informal and tangled, when a listener is stream-ripping from YouTube. 2) The re-appropriation of informal YouTube material by a musician. 3) The more formal transcoding performed by a distributor. By drawing on metaphor theory and software studies, I discuss cultural transcoding and metaphor as central to streamification and discuss how a focus on ease-of-use inevitably hides the tangle of transcodes.
{"title":"The music streaming metaphor and its underlying tangle of transcodes","authors":"Andreas Lenander Aegidius","doi":"10.1080/15405702.2020.1744609","DOIUrl":"https://doi.org/10.1080/15405702.2020.1744609","url":null,"abstract":"ABSTRACT This article presents an interrogation of streamification, a concept that addresses the influence of streaming software on cultural artifacts and uses. I argue that the streamification builds on an underlying tangle of transcodes. I base this on empirical findings from a qualitative study of digital online music uses and the technologies that operate beyond the interface of streaming media. I map the typical online path of music files and exemplify the tangle of transcodes with three empirical cases and detail their meaning-making processes: 1) The most informal and tangled, when a listener is stream-ripping from YouTube. 2) The re-appropriation of informal YouTube material by a musician. 3) The more formal transcoding performed by a distributor. By drawing on metaphor theory and software studies, I discuss cultural transcoding and metaphor as central to streamification and discuss how a focus on ease-of-use inevitably hides the tangle of transcodes.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"19 1","pages":"42 - 56"},"PeriodicalIF":1.1,"publicationDate":"2020-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1744609","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41521976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/15405702.2020.1744607
Rasmus Fleischer
ABSTRACT Ever since the music streaming service Spotify was launched in 2008, it has been referred to as a model for an ongoing transformation of the media industries. Dozens of other technology startups have promised to deliver “a Spotify for books”, “a Spotify for movies”, “a Spotify for journalism” or even “a Spotify for art”. Yet, most attempts to replicate the model has actually failed. Analyzing a large body of Swedish and US news articles from 2008–2018, this article demonstrates how the metaphor of “Spotify” has been filled with very different meaning. Not only has the early promises of relying on advertising to make consumption “free but legal” been discarded, in favor of subscription-based models. Another major trend in the development of streaming services, including Spotify, has been the shift toward curation and algorithmic recommendation systems, which has added new associations to the metaphor or “a Spotify for x”.
{"title":"Universal Spotification? The shifting meanings of “Spotify” as a model for the media industries","authors":"Rasmus Fleischer","doi":"10.1080/15405702.2020.1744607","DOIUrl":"https://doi.org/10.1080/15405702.2020.1744607","url":null,"abstract":"ABSTRACT Ever since the music streaming service Spotify was launched in 2008, it has been referred to as a model for an ongoing transformation of the media industries. Dozens of other technology startups have promised to deliver “a Spotify for books”, “a Spotify for movies”, “a Spotify for journalism” or even “a Spotify for art”. Yet, most attempts to replicate the model has actually failed. Analyzing a large body of Swedish and US news articles from 2008–2018, this article demonstrates how the metaphor of “Spotify” has been filled with very different meaning. Not only has the early promises of relying on advertising to make consumption “free but legal” been discarded, in favor of subscription-based models. Another major trend in the development of streaming services, including Spotify, has been the shift toward curation and algorithmic recommendation systems, which has added new associations to the metaphor or “a Spotify for x”.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"19 1","pages":"14 - 25"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1744607","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43590215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/15405702.2019.1634810
Corrina Laughlin
ABSTRACT Since 2005, the film director David Lynch has been the most visible and vocal proponent for the spread of Transcendental Meditation (TM), a practice brought to the United States by Maharishi Mahesh Yogi in the late 1950s. This paper analyzes the public-facing operations: website, books, and celebrity benefit concerts, through which the David Lynch Foundation interacts with its American audience and charts two moves that the David Lynch Foundation has made in order to market TM. First, I assert that they have positioned TM as a technique rather than a spiritual practice and I understand this through Foucault’s theory of techné. Second, I argue that they have leveraged the auracular quality of celebrity as a modality through which to brand TM for the spiritual consumer. Ultimately, I made claims on how these moves represent a shift in how American spiritual seekers are understood and marketed to in popular culture.
{"title":"Transcendental meditation’s tipping point: the allure of celebrity on the American spiritual marketplace","authors":"Corrina Laughlin","doi":"10.1080/15405702.2019.1634810","DOIUrl":"https://doi.org/10.1080/15405702.2019.1634810","url":null,"abstract":"ABSTRACT Since 2005, the film director David Lynch has been the most visible and vocal proponent for the spread of Transcendental Meditation (TM), a practice brought to the United States by Maharishi Mahesh Yogi in the late 1950s. This paper analyzes the public-facing operations: website, books, and celebrity benefit concerts, through which the David Lynch Foundation interacts with its American audience and charts two moves that the David Lynch Foundation has made in order to market TM. First, I assert that they have positioned TM as a technique rather than a spiritual practice and I understand this through Foucault’s theory of techné. Second, I argue that they have leveraged the auracular quality of celebrity as a modality through which to brand TM for the spiritual consumer. Ultimately, I made claims on how these moves represent a shift in how American spiritual seekers are understood and marketed to in popular culture.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"108 - 120"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2019.1634810","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47406625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/15405702.2019.1627547
Melanie E. S. Kohnen
ABSTRACT My essay examines the blogging culture surrounding San Diego Comic-Con. Con-bloggers share desirable strategies for navigating the convention, including access to tickets, hotel rooms, and panels. I argue that con-blogging’s focus on wait times, the convention space, and communal experiences among fans functions as an adjacent yet external “extra” to the industry’s promotional discourse. The popularity of con-blogging demonstrates that fans’ interests exceed industrial offerings. Con-bloggers’ primary fandom is the ephemeral experience rooted in a specific time (four days in July) and space (the San Diego Convention Center), expanding the usual definition of fandom as centering on a media text. Even though con-bloggers’ fandom remains apart from industry buzz, they adopt industrial strategies to promote their blogs, including branding, sponsorships, and swag. The complex economy of knowledge production among con-bloggers reorients our understanding of industry-fan interactions at conventions and beyond.
{"title":"Time, space, strategy: fan blogging and the economy of knowledge at San Diego Comic-Con","authors":"Melanie E. S. Kohnen","doi":"10.1080/15405702.2019.1627547","DOIUrl":"https://doi.org/10.1080/15405702.2019.1627547","url":null,"abstract":"ABSTRACT My essay examines the blogging culture surrounding San Diego Comic-Con. Con-bloggers share desirable strategies for navigating the convention, including access to tickets, hotel rooms, and panels. I argue that con-blogging’s focus on wait times, the convention space, and communal experiences among fans functions as an adjacent yet external “extra” to the industry’s promotional discourse. The popularity of con-blogging demonstrates that fans’ interests exceed industrial offerings. Con-bloggers’ primary fandom is the ephemeral experience rooted in a specific time (four days in July) and space (the San Diego Convention Center), expanding the usual definition of fandom as centering on a media text. Even though con-bloggers’ fandom remains apart from industry buzz, they adopt industrial strategies to promote their blogs, including branding, sponsorships, and swag. The complex economy of knowledge production among con-bloggers reorients our understanding of industry-fan interactions at conventions and beyond.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"107 - 91"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2019.1627547","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46324537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/15405702.2019.1637524
Téwodros W. Workneh
ABSTRACT The marked reluctance to incorporate African agency in African image-making in the West quite predictably brought about flat and simplistic caricatures of the continent and its peoples. With the aim of interrogating continuity and change in the representation of Africa, this paper explores African exoticism in Travel Channel’s Bizarre Foods with Andrew Zimmern. Framed within a critical cultural/postcolonial perspective that anchors discourses of exoticism in Bizarre Foods with Andrew Zimmern, the study identifies the spectacular representational modes of the “crude” native, poverty, and primitivism as evidences of African otherness. Key findings of the study indicate that food in many African destinations is portrayed as mere materiality, and that African foodways are unsophisticated and lack any perceptible aesthetics or influence. Furthermore, the show stubbornly insists on Africa’s “primitiveness” as a binary condition to be contrasted with Western modernity, which, like the spectacle of poverty, marks the salience of African alterity.
{"title":"Exotica Africana: interrogating African otherness in Bizarre Foods with Andrew Zimmern","authors":"Téwodros W. Workneh","doi":"10.1080/15405702.2019.1637524","DOIUrl":"https://doi.org/10.1080/15405702.2019.1637524","url":null,"abstract":"ABSTRACT The marked reluctance to incorporate African agency in African image-making in the West quite predictably brought about flat and simplistic caricatures of the continent and its peoples. With the aim of interrogating continuity and change in the representation of Africa, this paper explores African exoticism in Travel Channel’s Bizarre Foods with Andrew Zimmern. Framed within a critical cultural/postcolonial perspective that anchors discourses of exoticism in Bizarre Foods with Andrew Zimmern, the study identifies the spectacular representational modes of the “crude” native, poverty, and primitivism as evidences of African otherness. Key findings of the study indicate that food in many African destinations is portrayed as mere materiality, and that African foodways are unsophisticated and lack any perceptible aesthetics or influence. Furthermore, the show stubbornly insists on Africa’s “primitiveness” as a binary condition to be contrasted with Western modernity, which, like the spectacle of poverty, marks the salience of African alterity.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"121 - 137"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2019.1637524","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42601434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-30DOI: 10.1080/15405702.2020.1744610
S. Holiday, Mary S. Norman, Rebecca L. Densley
The sharenting practice, or the sharing of one’s parenting and children online, has become a popular topic of critical focus that decries it as an exploitative disregard for children’s privacy and ...
{"title":"Sharenting and the extended self: self-representation in parents’ Instagram presentations of their children","authors":"S. Holiday, Mary S. Norman, Rebecca L. Densley","doi":"10.1080/15405702.2020.1744610","DOIUrl":"https://doi.org/10.1080/15405702.2020.1744610","url":null,"abstract":"The sharenting practice, or the sharing of one’s parenting and children online, has become a popular topic of critical focus that decries it as an exploitative disregard for children’s privacy and ...","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":" ","pages":""},"PeriodicalIF":1.1,"publicationDate":"2020-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1744610","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47121067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-24DOI: 10.1080/15405702.2020.1744608
Niclas Ekberg, Elias Schwieler
ABSTRACT The essay outlines an alternative model of Bildung, which the authors call an evolving Bildung. Their argument for taking this perspective on Bildung builds on Heidegger’s thinking concerning technology and his notion of a step back out of metaphysics and into a thinking of what is essential in technology. Moreover, departing from both Gadamer’s and Heidegger’s thinking the authors analyze how streaming media as art as well as art within streaming media can contribute to develop the notion of an evolving Bildung. The authors, furthermore, use Spotify as an example of a streaming medium which has the possibility to change the way art is experienced, and also how an evolving Bildung can develop education into an authentic human engagement with what can be called the Other, in the broad sense of this term, and so away from instrumentalism and calculative thinking.
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