J.Rice

admin October 25th, 2009

2 convergence culture is where power of media consumer and producer come together in unpredictable ways
media convergence, participatory culture, and collective intelligence
3  convergence represents a cultural shift
we each construct mythologies out of bits we connect with
6 convergence assumes old and new media will interact in complex ways
12 to describe some of the ways convergence is reshaping popular culture
13-14 personal investment/ to document and not to critique
14 old media don’t die – the tools might; i.e., the delivery technologies
medium as technology that enables communication and as set of protocols
14 media are cultural systems
15 convergence alters relationships b/w existing technologies, industries, markets, genres, and audiences
16 convergence is a process, not an endpoint
17 convergence occurs when people take media into their own hands
lives relationships fantasies desires flow across media channels
20 affective economics
transmedia storytelling
21 the art of world making – consumers are hunters and gatherers
25 Survivor – spoiling
26 communal rather individual modes of reception
shared problem solving
27 communities held together by mutual production and reciprocal exchange of knowledge
28 knowledge community may challenge hegemony of nation state
33 look at this research
36 intrusion of perspective !
38 the scale of knowledge communities
43 spoiling as adversarial
46 planting misleading clues
47 editing patterns
52 relationship b/w spoiling and school
53 collective intelligence assumes each person has something to contribute
54 collective intelligence  is social process of acquiring knowledge
55 revelation of sourced information
56 extends pleasure built into series
61 affective economics and American Idol
62 emotional underpinnings of consumer decision making
63 audience expressions
64 American Idol brings fantasy of empowerment
*65 how does the viewer’s search for compelling content translate into exposure to sponsored messages? (ALSO IDEA FOR BEER BOOK – OUR CONTENT/AND SHARING AS AD FOR BREWERY)
usage of impression as measuring device for advertising
67 advertisers having to wait – a shift in perspective intrusion
alternative to impression – expression
68 consumers watch and SHARE media
relationships built on ongoing transactions
69 to elicit emotion and create connections
70 the “love marks” – note the role of the personal and emotional (it continues through many of our readings)
72 shift away from TV as the center and toward “experience based access driven marketing”
environment is the space
73 inspirational consumers/brand advocates
*fandom as tribal (centralizing attention)
74 zappers watch snips, not whole shows
78 serialization rewards the loyals (See Steven Johnson)
86 issues of the consensus forming process
90 the role of online communities as space for critique (though these fans still remain loyal as they critique)
91 belief that consumption community will hold corporations accountable (?)
95 the Matrix has a narrative so big in cannot be contained in one medium
it is entertainment for the era of collective intelligence
cultural activator/ cultural attractor
the experience must be shared
transmedia storytelling
96 reading across media sustains depth of experience that motivates more consumption
97 cult works need to be quoted from/ and must be encyclopedic
98 it is made from quotes
* film’s endless borrowings sparks audience response
99 the more you look/the more secrets/the more any might be THE KEY  – a new form of hermeneutics because there is no key – these are references
105 licensing will give way to co-creation.
112 corporate hybridity – when one culture absorbs and transforms elements from another
114 storytelling has become the art of world building
115 emergence of new story structures
120 still borrowing archetypes
123 how to deliver the ONE piece of info that makes you look at text differently?
125 additive comprehension
127 we don’t yet know where the breaking point of this process is
emergence of knowledge culture makes it possible for community as a whole to know bottomless text – as opposed to individual
128 criticism, too, is now the meeting of multiple authors and critics
129 schools don’t teach what it means to live and work in knowledge communities
the transmedia impulse at the heart of convergence culture
130 in information culture, kids play with information
131 FANS have always been early adapters of new media technologies
web, though, promotes their visibility
132 fan digital film is to cinema what punk DYI is to music
133 interactivity and participation are not the same – interactivity is the way new technologies have been designed to be more responsive to consumer feedback
participation is shaped by cultural and social protocols
*134 media industry seeks ways to channel creative output of media fans
136 some hold to the difference between mass (category of production) and popular culture (category of consumption)
popular culture is what happens as mass culture gets pulled back into folk culture
grassroots convergence represents the folks process accelerated and expanded for digital age
137 new convergence culture will be built on borrowings from various media conglomerates
142 digital filmmaking alters MARGINAL status amateurs once experience
143 and the new films are PUBLIC
148 web is site of experimentation and innovation where amateurs test the waters, develop new practices, themes, and generating materials that will attract own followings
they get appropriated by the mainstream as well
154 when approved, copyright regimes of mass culture are applied to folks culture process
159 issue of centralization of companies/decentralization of fans, consumers
162 treating fans like client team
163 modding is where participatory culture seems to reprogram code so as to enable new kinds of interactions
170 panic (McLuhan – age of Anxiety)
Potter wars are a struggle over LITERACY – what we do with media
171 participation and its discontents
173 using fictional identities
174 how Rowling’s books allow many points of entry
176 mix of role playing game and fan fiction
* what skills do children need to become participants in convergence culture?
Share – connection – express – circulate
177 learning in informal and recreational spaces
affinity spaces
179 what happens when kids get early experience writing and receiving feedback?
181 invention of new genre classifications
183 schools locked into model of autonomous learning that contrasts w/kinds of learning needed as students enter knowledge cultures
184 a world where knowledge is shared and critical activity is ongoing
•    184 but you can’t have same success of affinity space in classroom simply by incorporating similar activities
185 passion
190 change will occur by shifting way studios think about fan communities than by reshaping the law
193 critique of participation – popular culture overrides real world
197 kids forced to recant fantasies in order to defend their right to have them
199 discernment as form of media literacy
203 teaching Christian children to read critically and to ascribe new meanings to texts
harnessing transmedia storytelling
207 creating content that others already agree with or believe
208 bringing political discourse closer to everyday
shift from individualized conception of informed citizen to collaborative conception of monitorial citizen
changes in communication and cultural norms
213 push vs pull media
214 cultural jamming vs blogging
215 perhaps concept of cultural jamming has outlived its usefulness
maybe we should think of normal, calm appropriation
220 photoshop as democratizing tool
222 ways amateurs can insert their images and thoughts into political process
224 entertainment media as a reflection on perspectives of current media
226 monitorial citizens – environmental surveillance more than information gathering
parody can be the next step in fuller participation in democratic decision making
227monitoring citizen needs new critical skills in assessing information
news is something discovered through hashing through competitive accounts rather than digested from authoritarian sources
228 allow people to exert control over imaginary world
231 people make passionate but short term investments in online communities
233  connection between game play and civic engagement
we rework popular culture into our own stories (ULMER)
234 to think of democratic citizenship as lifestyle – not a separate event
* 235 what will happen when sharing of knowledge and exercise of grassroots power (different understanding of puissance) becomes normative
237 but we still look for mindset we already have
238 We agree on much; we trust each other little
knowledge culture depends on diversity of opinion/knowing – not on same
239 – final call for political deliberation (Habermas over Lyotard and Virilio- where there is no deliberation, just conquering)
243 consumer HABIT can slow down interactive potential of digital
244 a culture who grew up w/fingers on the remote
245 rather than talk about personal media/we should talk about communal media
246 popular culture activities may end up applied to politics
fan cultures show new ways of thinking about citizenship and collaboration
248 problems w/concentration
but concentration is only one issue
one problem is where “resistance” is an end onto to itself – cultural jamming
250 warren ellis – global frequency – saving ourselves
256 where we all can create and circulate cultural myths
257 not to resist corporate culture but to work with it
258-9 not just being able to read and write but to participate in deliberations

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