Explores our developing participatory online culture, establishing the core principles which drive the rise of collaborative content creation in environments, from open source through blogs and Wikipedia to Second Life. Argues that what is emerging is no longer just a new form of content production, but a new process for the continuous creation and extension of knowledge and art by collarborative communities: produsage.

This volume investigates urbanity as a cultural form. The essays illustrate the real and imaginary ways that we interact with the cities through the portal of the arts.

The early 21st century has seen contemporary art make continued use of audience participation, in which the spectator becomes part of the artwork itself. In this book, Kaija Kaitavuori claims that the `participator' is a new artistic role that does not fall under the auspices of artist or spectator and in proving such she devises a four-group typology of involvement. Her classification distinguishes between different forms of engagement and identifies their specific features. The key criteria she proposes are how concepts of authorship and ownership shift in relation to collectively created work, how contracts regulating the use and production of shared work are arranged and the extent to which involvement in making art can be regarded as democratic. This highly original book thus offers students and teachers the tools with which to improve their understanding of participatory art and removes the confusing terminology that has characterized so many other discussions.

How networked technology enables the emergence of a new collaborative society. Humans are hard-wired for collaboration, and new technologies of communication act as a super-amplifier of our natural collaborative mindset. This volume in the MIT Press Essential Knowledge series examines the emergence of a new kind of social collaboration enabled by networked technologies. This new collaborative society might be characterized as a series of services and startups that enable peer-to-peer exchanges and interactions though technology. Some believe that the economic aspects of the new collaboration have the potential to make society more equitable; others see collaborative communities based on sharing as a cover for social injustice and user exploitation. The book covers the “sharing economy,” and the hijacking of the term by corporations; different models of peer production, and motivations to participate; collaborative media production and consumption, the definitions of “amateur” and “professional,” and the power of memes; hactivism and social movements, including Anonymous and anti-ACTA protest; collaborative knowledge creation, including citizen science; collaborative self-tracking; and internet-mediated social relations, as seen in the use of Instagram, Snapchat, and Tinder. Finally, the book considers the future of these collaborative tendencies and the disruptions caused by fake news, bots, and other challenges.

All the World’s a Stage: Theorizing and Producing Blended Identities in a Cybercultural World explores the extent to which cyber and “real” selves increasingly overlap, intersect, and entwine. As the quotation from Shakespeare indicates, the question of the roles we play in society and their relation to our self is not new; however, the rise of cyberculture has further complicated the relationship between our sense of self and our social roles, because it provides more opportunities to adopt new or changed identities. Some contributors to this volume welcome the complexities of the self that cyberculture has engendered, and explore changes in morality, community, and identity. Others acknowledge the negative effects of such performative identities, questioning what we lose by constructing ourselves so constantly in response to a virtual audience. Nevertheless, cyberculture is now “real” culture, and coming to terms with who we are online increasingly determines who we are altogether.

"If you want to understand why Wikipedia is changing the world, this book is a must read." –Jimmy Wales, Founder, Wikipedia "This book is a must read for all - social activists, politicians or managers - who have an interest in understanding how our society is morphing." –Professor C.K. Prahalad, #1 Management Guru and author of Competing for the Future Synopsis The rise of social networks like Facebook, MySpace and Bebo is changing the way we see ourselves, how we interact with each other, how we work and how we do business on a daily basis. Throwing Sheep in the Boardroom explores the powerful forces driving the social networking revolution, the impact of these profound changes, and the far reaching consequences of social networking. Detailing the way social networks affects both individuals and societies as a whole, the book offers a detailed focus on the ways social networking affects the world of business and work. The generation entering the workforce today - and entering boardrooms everywhere - is fully engaged with social networking and its uses. Rather than feeling threatened and paranoid, today's business leaders need to understand this phenomenon, accept that it won't go away, and embrace its power in the world of business. Excerpts from Throwing Sheep in the Boardroom: "Your next CEO’s most impressive job credential might be status as an online gladiator, honing valuable leadership skills mercilessly slaying mortal enemies on World of Warcraft. Why not, the skills necessary to hack your way to the top levels of virtual games – especially a killer instinct – are excellent pre-requisites for managing complex organisations." "Many senior managers mistakenly believe Enterprise 2.0 is a product, like the latest Microsoft office suite. They don’t realise that Enterprise 2.0 is not a cost centre, but a “state of mind” – a revolutionary new way of managing companies and conducting business. Web 2.0 tools have no regard for “organisational boundaries, hierarchies, or job titles”. Try telling a senior executive that, henceforth, there will be no job titles, reporting lines, and organisational boundaries in the company – and watch the reaction closely." "When someone calls a meeting, he or she is asserting authority over those who are invited to attend. Meetings are exclusive and closed. In most corporations, who gets invited to a meeting – and who does not – sends a signal about who’s ‘in the loop’. Meetings are a form of social grooming inside organisations. Meetings impose vertical authority. They establish status hierarchies. The Enterprise 2.0 model is feared in corporations because it threatens status hierarchies." "Harnessing the dynamism of horizontal networks, Web 2.0 social media are bypassing institutional forms of social organisation and directly empowering people. This book has attempted to tell that story with illustrations, which, we hope, have offered intriguing and instructive insights into the powerful transformations we described. What has interested us most, indeed, is the transformative impact – or “e-ruptions” – of Web 2.0 social media on the three dynamics that gave this book its structure: identity, status and power."

Collection of essays that consider television as a digital media form and the aesthetic, cultural, and industrial changes that this shift has provoked.

How the internet transformed television Before HBO’s hit show Insecure, Issa Rae’s comedy about being a nerdy black woman debuted as a YouTube web series The Misadventures of Awkward Black Girl, her response to the absence of diverse black characters on the small screen. Broad City, a feminist sitcom now on Comedy Central, originated as a web series on YouTube, developed directly out of funny women Ilana Glazer and Abbi Jacobson’s real-life friendship. These unconventional stories took advantage of the freedom afforded outside the traditional television system: online. Open TV shows how we have left “the network era” far behind and entered the networked era, with the web opening up new possibilities for independent producers, entrepreneurs, and media audiences. Based on interviews with writers, producers, show-runners, and network executives, visits to festivals and award shows, and the experience of producing his own series, Aymar Jean Christian argues that the web brought innovation to television by opening up series development to new producers, fans, and sponsors that had previously been excluded. Online access to distribution provides creative freedom for indie producers, allows for more diverse storytelling from marginalized communities, and introduces new ways of releasing and awarding shows. Open TV is essential reading for anyone interested in the changing environment of television and how the internet can inspire alternatives to what’s on TV tonight.

Drama Education with Digital Technology explores the rapidly evolving intersections between drama, digital gaming, technology and teaching. It documents the praxis (practice and research) that move beyond anecdotal discussion of approaches and design. The contributors explore the realities of teaching an ancient aesthetic form in classrooms full of technologically able students. It also examines cases from classroom practice to present teaching, with approaches and understandings that are based on evidence and supported by cutting edge learning theory from educational leaders in drama and technology.

Remediating Sound studies the phenomena of remixing, mashup and recomposition: forms of reuse and sampling that have come to characterise much of YouTube's audiovisual content. Through collaborative composition, collage and cover songs to reaction videos and political activism , users from diverse backgrounds have embraced the democratised space of YouTube to open up new and innovative forms of sonic creativity and push the boundaries of audiovisual possibilities. Observing the reciprocal flow of influence that runs between various online platforms, 12 chapters position YouTube as a central hub for the exploration of digital sound, music and the moving image. With special focus on aspects of networked creativity that remain overlooked in contemporary scholarship, including library music, memetic media, artificial intelligence, the sonic arts and music fandom, this volume offers interdisciplinary insight into contemporary audiovisual culture.