Pub Date : 2023-07-17DOI: 10.1177/13548565231188415
Ergin Bulut, Adem Yeşilyurt
How do we interpret the extraordinary visibility and ordinariness of social media as delivery workers resist their precarious working lives? Drawing on fieldwork, interviews, photo elicitation, and digital data collection in Turkey with a focus on delivery workers’ strikes in early 2022, we argue that understanding the delivery workers’ movement requires not only considering spectacular strikes and social media protests but also workers’ everyday forms of resistance and their ordinary uses of social media as part of what we call weapons of the gig. Although not as visible as spectacular street action and social media campaigns, these weapons (motorcycle drivers’ solidarity, algorithmic resistance, and social media use for information sharing, as well as production of humor and resentment) enable the subtle formation of a movement. Our contribution lies in reframing social media use as both an ordinary and extraordinary weapon of delivery workers and approaching workers’ solidarity as a question of continuum. Enabling us to look beyond the antagonisms in the labor process and locate affective tensions in the everyday, this approach allows for seeing workers not only as economic but also as political and affective subjects demanding freedom and searching for meaningful connection in their lives.
{"title":"Delivery workers’ visibility struggles: Weapons of the gig, (extra)ordinary social media, and strikes","authors":"Ergin Bulut, Adem Yeşilyurt","doi":"10.1177/13548565231188415","DOIUrl":"https://doi.org/10.1177/13548565231188415","url":null,"abstract":"How do we interpret the extraordinary visibility and ordinariness of social media as delivery workers resist their precarious working lives? Drawing on fieldwork, interviews, photo elicitation, and digital data collection in Turkey with a focus on delivery workers’ strikes in early 2022, we argue that understanding the delivery workers’ movement requires not only considering spectacular strikes and social media protests but also workers’ everyday forms of resistance and their ordinary uses of social media as part of what we call weapons of the gig. Although not as visible as spectacular street action and social media campaigns, these weapons (motorcycle drivers’ solidarity, algorithmic resistance, and social media use for information sharing, as well as production of humor and resentment) enable the subtle formation of a movement. Our contribution lies in reframing social media use as both an ordinary and extraordinary weapon of delivery workers and approaching workers’ solidarity as a question of continuum. Enabling us to look beyond the antagonisms in the labor process and locate affective tensions in the everyday, this approach allows for seeing workers not only as economic but also as political and affective subjects demanding freedom and searching for meaningful connection in their lives.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"4 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87373545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-17DOI: 10.1177/13548565231187329
Laryssa Whittaker
Virtual reality (VR) technology is an emerging medium of experience in many different public-facing entertainment and cultural contexts, such as immersive theatre, live performance, VR film festivals, gaming arcades, escape rooms, and museum exhibitions. The processes of ushering audience members or users into the virtual experience and out again, to which I refer here as ‘onboarding’ and ‘offboarding’, have been considered within some specific contexts, or on a case-by-case basis, but to date no systematised consideration of VR onboarding and offboarding has been produced. One reason for this is that ambiguities in disciplinary and practical definitions of immersion have obscured the relationship between VR technology and users. Clarification of this relationship results in clear evidence of a need for attention to onboarding and offboarding processes in public-facing contexts. In this paper, I define onboarding and offboarding, and present a framework for considering the onboarding and offboarding experiences of virtual reality audiences that helps stakeholders identify both their responsibilities to audiences and the best way to facilitate the immersive experience. This framework is based upon identifying experience goals, centred on the affordances of virtual reality and principles of immersion and presence, and utilises the Immersive Audience Framework developed by StoryFutures in its interdisciplinary research with immersive audiences since 2019.
{"title":"Onboarding and offboarding in virtual reality: A user-centred framework for audience experience across genres and spaces","authors":"Laryssa Whittaker","doi":"10.1177/13548565231187329","DOIUrl":"https://doi.org/10.1177/13548565231187329","url":null,"abstract":"Virtual reality (VR) technology is an emerging medium of experience in many different public-facing entertainment and cultural contexts, such as immersive theatre, live performance, VR film festivals, gaming arcades, escape rooms, and museum exhibitions. The processes of ushering audience members or users into the virtual experience and out again, to which I refer here as ‘onboarding’ and ‘offboarding’, have been considered within some specific contexts, or on a case-by-case basis, but to date no systematised consideration of VR onboarding and offboarding has been produced. One reason for this is that ambiguities in disciplinary and practical definitions of immersion have obscured the relationship between VR technology and users. Clarification of this relationship results in clear evidence of a need for attention to onboarding and offboarding processes in public-facing contexts. In this paper, I define onboarding and offboarding, and present a framework for considering the onboarding and offboarding experiences of virtual reality audiences that helps stakeholders identify both their responsibilities to audiences and the best way to facilitate the immersive experience. This framework is based upon identifying experience goals, centred on the affordances of virtual reality and principles of immersion and presence, and utilises the Immersive Audience Framework developed by StoryFutures in its interdisciplinary research with immersive audiences since 2019.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"37 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79106450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-15DOI: 10.1177/13548565231184060
C. Tomlinson
Online spaces offer fan communities and content creators many outlets for expressing their interests, but they also tend to place users in positions where they encounter hostility, toxicity, and gatekeeping. In the case of online streaming on Twitch, users frequently encounter hostility based on identity and seek assistance from fellow users via social media. In this project, I highlight the ways that social media is used to try to organize against discriminatory cultures toward marginalized streamers. Ultimately, I find that much of the onus is placed directly on streamers themselves to circumvent, address, and keep themselves safe despite harassment. In this paper, I will argue that this feeds into the structures and cultures that allow racist and sexist hostilities in online and gaming spaces by placing responsibility – and blame – on individual users from marginalized backgrounds. Although the community is frequently supportive of users who seek advice for addressing hostility and there are attempts at raising awareness through collective online action, the lack of apparent resolution leaves many feeling that these experiences are inevitable, immutable, and within the realm of individual responsibility.
{"title":"Community Grievances, personal responsibility, and DIY protection: Frustrations and solution-seeking among marginalized Twitch streamers","authors":"C. Tomlinson","doi":"10.1177/13548565231184060","DOIUrl":"https://doi.org/10.1177/13548565231184060","url":null,"abstract":"Online spaces offer fan communities and content creators many outlets for expressing their interests, but they also tend to place users in positions where they encounter hostility, toxicity, and gatekeeping. In the case of online streaming on Twitch, users frequently encounter hostility based on identity and seek assistance from fellow users via social media. In this project, I highlight the ways that social media is used to try to organize against discriminatory cultures toward marginalized streamers. Ultimately, I find that much of the onus is placed directly on streamers themselves to circumvent, address, and keep themselves safe despite harassment. In this paper, I will argue that this feeds into the structures and cultures that allow racist and sexist hostilities in online and gaming spaces by placing responsibility – and blame – on individual users from marginalized backgrounds. Although the community is frequently supportive of users who seek advice for addressing hostility and there are attempts at raising awareness through collective online action, the lack of apparent resolution leaves many feeling that these experiences are inevitable, immutable, and within the realm of individual responsibility.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"41 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76246618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-15DOI: 10.1177/13548565231185863
F. Hoose, Sophie Rosenbohm
Blogs and social media sharing platforms like YouTube and Instagram have become increasingly popular in recent years, and they also have become an outlet for income generation. In this paper, we focus on what stories content creators share about their professional activities on social media and what self-image and narratives they draw about their work as content creators. Based on a content analysis of blog and video posts as well as semi-structured interviews conducted with content creators in Germany, we identified a specific ‘professional creator narrative’ that serves the purpose of reconciling contradictory demands from their audience, sponsors and platforms. Our findings indicate that constructing those narratives helps to justify their activities and thus is an essential part of working as a content creator.
{"title":"Self-representation as platform work: Stories about working as social media content creators","authors":"F. Hoose, Sophie Rosenbohm","doi":"10.1177/13548565231185863","DOIUrl":"https://doi.org/10.1177/13548565231185863","url":null,"abstract":"Blogs and social media sharing platforms like YouTube and Instagram have become increasingly popular in recent years, and they also have become an outlet for income generation. In this paper, we focus on what stories content creators share about their professional activities on social media and what self-image and narratives they draw about their work as content creators. Based on a content analysis of blog and video posts as well as semi-structured interviews conducted with content creators in Germany, we identified a specific ‘professional creator narrative’ that serves the purpose of reconciling contradictory demands from their audience, sponsors and platforms. Our findings indicate that constructing those narratives helps to justify their activities and thus is an essential part of working as a content creator.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"2 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86980109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-07DOI: 10.1177/13548565231174584
Jean-Marie John-Mathews, Robin De Mourat, Donato Ricci, M. Crépel
As the number of ethical incidents associated with Machine Learning (ML) algorithms increases worldwide, many actors are seeking to produce technical and legal tools to regulate the professional practices associated with these technologies. However these tools, generally grounded either on lofty principles or on technical approaches, often fail at addressing the complexity of the moral issues that ML-based systems are triggering. They are mostly based on a ‘principled’ conception of morality where technical practices cannot be seen as more than mere means to be put at the service of more valuable moral ends. We argue that it is necessary to localise ethical debates within the complex entanglement of technical, legal and organisational entities from which ML moral issues stem. To expand the repertoire of the approaches through which these issues might be addressed, we designed and tested an interview protocol based on the re-enactment of data scientists’ daily ML practices. We asked them to recall and describe the crafting and choosing of algorithms. Then, our protocol added two reflexivity-fostering elements to the situation: technical tools to assess algorithms’ morality, based on incorporated ‘ethicality’ indicators; and a series of staged objections to the aforementioned technical solutions to ML moral issues, made by factitious actors inspired by the data scientists’ daily environment. We used this protocol to observe how ML data scientists uncover associations with multiple entities, to address moral issues from within the course of their technical practices. We thus reframe ML morality as an inquiry into the uncertain options that practitioners face in the heat of technical activities. We propose to institute moral enquiries both as a descriptive method serving to delineate alternative depictions of ML algorithms when they are affected by moral issues and as a transformative method to propagate situated critical technical practices within ML-building professional environments.
{"title":"Re-enacting machine learning practices to enquire into the moral issues they pose","authors":"Jean-Marie John-Mathews, Robin De Mourat, Donato Ricci, M. Crépel","doi":"10.1177/13548565231174584","DOIUrl":"https://doi.org/10.1177/13548565231174584","url":null,"abstract":"As the number of ethical incidents associated with Machine Learning (ML) algorithms increases worldwide, many actors are seeking to produce technical and legal tools to regulate the professional practices associated with these technologies. However these tools, generally grounded either on lofty principles or on technical approaches, often fail at addressing the complexity of the moral issues that ML-based systems are triggering. They are mostly based on a ‘principled’ conception of morality where technical practices cannot be seen as more than mere means to be put at the service of more valuable moral ends. We argue that it is necessary to localise ethical debates within the complex entanglement of technical, legal and organisational entities from which ML moral issues stem. To expand the repertoire of the approaches through which these issues might be addressed, we designed and tested an interview protocol based on the re-enactment of data scientists’ daily ML practices. We asked them to recall and describe the crafting and choosing of algorithms. Then, our protocol added two reflexivity-fostering elements to the situation: technical tools to assess algorithms’ morality, based on incorporated ‘ethicality’ indicators; and a series of staged objections to the aforementioned technical solutions to ML moral issues, made by factitious actors inspired by the data scientists’ daily environment. We used this protocol to observe how ML data scientists uncover associations with multiple entities, to address moral issues from within the course of their technical practices. We thus reframe ML morality as an inquiry into the uncertain options that practitioners face in the heat of technical activities. We propose to institute moral enquiries both as a descriptive method serving to delineate alternative depictions of ML algorithms when they are affected by moral issues and as a transformative method to propagate situated critical technical practices within ML-building professional environments.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"52 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87049835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-07DOI: 10.1177/13548565231178917
Natalie Doonan, Luana Oliveira, Christopher Ravenelle
Scholarship on immersion in simulated environments often emphasizes cognitive immersion, or the suspension of disbelief that takes place in an illusionistic space that simulates reality, making the fact of mediation disappear in the experience. Marie-Laure Ryan writes that: “immersivity can be understood in two ways: in a properly VR sense, as the technology-induced experience of being surrounded by data, and in a narrative sense... as being imaginatively captivated by a storyworld” (230). Both of these definitions rest on the notion of cognitive immersion. Grounded in the field of post-dramatic multimedia performance, this paper will focus instead on immersive storytelling that activates the senses in a phenomenological experience. Rather than transporting the spectator into a fictional imaginary space, post-dramatic multimedia performance aims to make participants aware of their presence in the here and now (Klich and Scheer, 128). This paper will describe an immersive storytelling project that integrates virtual reality (VR) into live participatory performance events that take place outdoors. The paper is co-authored by an artist-researcher and two students who are working as research assistants on this project. We recount our creative research process in developing a pervasive game, which Montola defines as a “game that has one or more salient features that expand the contractual magic circle of play socially, spatially or temporally” (2005, 3). This game is played in a park and at key moments, inside VR environments that simulate that same park. The purpose of the game is to attune participants to the species in that particular environment.
{"title":"Expanding the magic circle: Immersive storytelling that trains environmental perception","authors":"Natalie Doonan, Luana Oliveira, Christopher Ravenelle","doi":"10.1177/13548565231178917","DOIUrl":"https://doi.org/10.1177/13548565231178917","url":null,"abstract":"Scholarship on immersion in simulated environments often emphasizes cognitive immersion, or the suspension of disbelief that takes place in an illusionistic space that simulates reality, making the fact of mediation disappear in the experience. Marie-Laure Ryan writes that: “immersivity can be understood in two ways: in a properly VR sense, as the technology-induced experience of being surrounded by data, and in a narrative sense... as being imaginatively captivated by a storyworld” (230). Both of these definitions rest on the notion of cognitive immersion. Grounded in the field of post-dramatic multimedia performance, this paper will focus instead on immersive storytelling that activates the senses in a phenomenological experience. Rather than transporting the spectator into a fictional imaginary space, post-dramatic multimedia performance aims to make participants aware of their presence in the here and now (Klich and Scheer, 128). This paper will describe an immersive storytelling project that integrates virtual reality (VR) into live participatory performance events that take place outdoors. The paper is co-authored by an artist-researcher and two students who are working as research assistants on this project. We recount our creative research process in developing a pervasive game, which Montola defines as a “game that has one or more salient features that expand the contractual magic circle of play socially, spatially or temporally” (2005, 3). This game is played in a park and at key moments, inside VR environments that simulate that same park. The purpose of the game is to attune participants to the species in that particular environment.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"9 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79314219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-29DOI: 10.1177/13548565231185864
L. Eklund
Kinwork is the maintenance of cross-household kin and family ties through both physical and mediated means and is a type of unpaid labour historically performed by women. However, changing gender norms, new communicative practices such as networked individualism, and internet and communication technologies are changing how kinwork is done. This study explores how these changes affect the gendered nature of kinwork. Swedes from multigenerational, cross-household families residing in Sweden and the United States took part in primarily home-based interviews (n=40). This empirical study explores current practices of kinwork, focusing on three empirical cases, Christmas cards for seasonal greetings, phone calls for birthday well-wishes, and digital communication for everyday contact. Results highlight how kinwork in the sample is performed by both men and women through a wide range of communication technologies. The study shows that due to new gendered norms, women in the younger generations are less willing to do kinwork for men than older generations in the same kinship networks, indicating generational differences rather than family differences. In the study, men use new internet and communication technology to both do and sometimes take responsibility for kinwork while older communication technologies retain a feminine coding, sometimes resulting in abandonment. Contemporary digital communication technology supports a shift to individual communication rather than group-based which further supports men’s increased engagement in kinwork. The study concludes that kinwork in the studied sample is performed by both men and women and that contemporary kinwork can only be understood by looking at the complex entanglements of evolving gender equality norms, trends towards more individual communication patterns, and affordances of communication technology. Together these result in new ways and opportunities for doing kinwork, which becomes less the work of women and more the work of networked individuals, whatever gender.
{"title":"Kinwork revisited: The gendered work of keeping up with family through communication technology","authors":"L. Eklund","doi":"10.1177/13548565231185864","DOIUrl":"https://doi.org/10.1177/13548565231185864","url":null,"abstract":"Kinwork is the maintenance of cross-household kin and family ties through both physical and mediated means and is a type of unpaid labour historically performed by women. However, changing gender norms, new communicative practices such as networked individualism, and internet and communication technologies are changing how kinwork is done. This study explores how these changes affect the gendered nature of kinwork. Swedes from multigenerational, cross-household families residing in Sweden and the United States took part in primarily home-based interviews (n=40). This empirical study explores current practices of kinwork, focusing on three empirical cases, Christmas cards for seasonal greetings, phone calls for birthday well-wishes, and digital communication for everyday contact. Results highlight how kinwork in the sample is performed by both men and women through a wide range of communication technologies. The study shows that due to new gendered norms, women in the younger generations are less willing to do kinwork for men than older generations in the same kinship networks, indicating generational differences rather than family differences. In the study, men use new internet and communication technology to both do and sometimes take responsibility for kinwork while older communication technologies retain a feminine coding, sometimes resulting in abandonment. Contemporary digital communication technology supports a shift to individual communication rather than group-based which further supports men’s increased engagement in kinwork. The study concludes that kinwork in the studied sample is performed by both men and women and that contemporary kinwork can only be understood by looking at the complex entanglements of evolving gender equality norms, trends towards more individual communication patterns, and affordances of communication technology. Together these result in new ways and opportunities for doing kinwork, which becomes less the work of women and more the work of networked individuals, whatever gender.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"81 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72689099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-16DOI: 10.1177/13548565231181981
Sandra Martorell, Antoni Roig Telo
This article studies social perceptions of gig work and its conditions through the lenses of visual humour created and shared in digital environments. Food delivery services have thrived in cities, and riders – gig workers associated with such services – have become popular urban figures, easily recognisable through light means of transport and backpacks. These iconic elements have spread to forms of visual humour like memes and cartoons in social media. We aim to analyse the depiction of food delivery services and riders through graphic humour in digital environments, and its role as critical stances of gig work conditions. We draw from the literature on gig work, as well as critical humour in the workplace, approaching the phenomenon from the perspective of critical visualities and the memetic qualities of digital visual humour. Thus, we have conducted an analysis of rider memes, and carried out a focus group with Spanish cartoonists to better understand each form. From our analysis, we have observed that a) memes showcase less explicit critical stances but reflect a shared understanding of the hurdles associated to rider work; b) cartoons place riders in a contextualised, wider critique of platform economy and capitalism; c) while most graphic humour on riders takes an external, observational position, there is also an ‘inner look’ to the rider work, emphasising the promises and deceptions associated with the gig economy.
{"title":"Gig workers, critical visuality and humour in a digital context: The graphic representation of riders as a form of social criticism","authors":"Sandra Martorell, Antoni Roig Telo","doi":"10.1177/13548565231181981","DOIUrl":"https://doi.org/10.1177/13548565231181981","url":null,"abstract":"This article studies social perceptions of gig work and its conditions through the lenses of visual humour created and shared in digital environments. Food delivery services have thrived in cities, and riders – gig workers associated with such services – have become popular urban figures, easily recognisable through light means of transport and backpacks. These iconic elements have spread to forms of visual humour like memes and cartoons in social media. We aim to analyse the depiction of food delivery services and riders through graphic humour in digital environments, and its role as critical stances of gig work conditions. We draw from the literature on gig work, as well as critical humour in the workplace, approaching the phenomenon from the perspective of critical visualities and the memetic qualities of digital visual humour. Thus, we have conducted an analysis of rider memes, and carried out a focus group with Spanish cartoonists to better understand each form. From our analysis, we have observed that a) memes showcase less explicit critical stances but reflect a shared understanding of the hurdles associated to rider work; b) cartoons place riders in a contextualised, wider critique of platform economy and capitalism; c) while most graphic humour on riders takes an external, observational position, there is also an ‘inner look’ to the rider work, emphasising the promises and deceptions associated with the gig economy.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"5 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73202341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.1177/13548565231183298
Annika Becker, L. Ecker, Inga Külpmann, Karen Schwien, Patrick Stobbe
The paper analyzes social interactions among crowdworkers on Discord. The explored crowdtesting platform uses this social media platform to offer their crowdworkers various opportunities for work-related and private communication and to host events that encourage learning practices. The paper investigates to what extent the interactions on Discord can be analyzed as social learning practices and can be understood as a specific form of solidarity among crowdworkers. In an explorative online ethnographic study, two learning related channels of the platform company’s Discord server were observed: the question channel in which testers can ask for help, and the quiz channel in which a testing related quiz event takes place. Additionally, interviews with moderators and crowdtesters were conducted. The observation of learning practices on Discord makes clear that the social media tool is mostly used by testers for situational and functional information exchange like helping each other with bug classifications or solving technical problems. Testers mostly provide each other with brief information that can directly be applied in the work context. Further information are mainly shared by moderators that offer supplementary explanations as a possibility to self-help. The study highlights that a form of weak cooperative solidarity emerges among testers as they support each other via Discord to fulfill individual work tasks. This differs from resistant solidarity in other contexts of platform work, because in the observed case, platform workers’ solidarity is not directed against the platform company.
{"title":"Cooperative solidarity among crowdworkers? Social learning practices on a crowdtesting social media platform","authors":"Annika Becker, L. Ecker, Inga Külpmann, Karen Schwien, Patrick Stobbe","doi":"10.1177/13548565231183298","DOIUrl":"https://doi.org/10.1177/13548565231183298","url":null,"abstract":"The paper analyzes social interactions among crowdworkers on Discord. The explored crowdtesting platform uses this social media platform to offer their crowdworkers various opportunities for work-related and private communication and to host events that encourage learning practices. The paper investigates to what extent the interactions on Discord can be analyzed as social learning practices and can be understood as a specific form of solidarity among crowdworkers. In an explorative online ethnographic study, two learning related channels of the platform company’s Discord server were observed: the question channel in which testers can ask for help, and the quiz channel in which a testing related quiz event takes place. Additionally, interviews with moderators and crowdtesters were conducted. The observation of learning practices on Discord makes clear that the social media tool is mostly used by testers for situational and functional information exchange like helping each other with bug classifications or solving technical problems. Testers mostly provide each other with brief information that can directly be applied in the work context. Further information are mainly shared by moderators that offer supplementary explanations as a possibility to self-help. The study highlights that a form of weak cooperative solidarity emerges among testers as they support each other via Discord to fulfill individual work tasks. This differs from resistant solidarity in other contexts of platform work, because in the observed case, platform workers’ solidarity is not directed against the platform company.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"54 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80409792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-07DOI: 10.1177/13548565231179963
Gabriela Elisa Sued, Arturo Rodríguez Rodríguez
This article seeks to understand how app delivery workers construct their collective identity through the digital platforms of YouTube and TikTok. Said identity construction occurs in the context of the social controversy surrounding their status as workers without labor rights or as independent partners of digital platforms. To this end, we collected 977 videos and their metadata and analyzed them via cross-platform digital methods. The findings reveal that app delivery workers construct their collective identity through the interplay of two factors. The first is the identity narratives created by delivery workers as video bloggers. The second is the recognition narratives created by different associated actors, such as accountants, media, universities and research centers, and content creators. Through these interactions, the narrative of delivery workers as independent partners acquires more algorithmic strength and visibility than those that discuss their status as employees and their lack of labor rights. Audiovisual technology also works as an instrument to reach individual agency and face the precariousness of daily life.
{"title":"Partners or workers? Mexican app deliverers on YouTube and TikTok","authors":"Gabriela Elisa Sued, Arturo Rodríguez Rodríguez","doi":"10.1177/13548565231179963","DOIUrl":"https://doi.org/10.1177/13548565231179963","url":null,"abstract":"This article seeks to understand how app delivery workers construct their collective identity through the digital platforms of YouTube and TikTok. Said identity construction occurs in the context of the social controversy surrounding their status as workers without labor rights or as independent partners of digital platforms. To this end, we collected 977 videos and their metadata and analyzed them via cross-platform digital methods. The findings reveal that app delivery workers construct their collective identity through the interplay of two factors. The first is the identity narratives created by delivery workers as video bloggers. The second is the recognition narratives created by different associated actors, such as accountants, media, universities and research centers, and content creators. Through these interactions, the narrative of delivery workers as independent partners acquires more algorithmic strength and visibility than those that discuss their status as employees and their lack of labor rights. Audiovisual technology also works as an instrument to reach individual agency and face the precariousness of daily life.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"20 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73448356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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