participatory culture
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2022 ◽  
pp. 136754942110626
Author(s):  
Stephanie Alice Baker

This article examines the proliferation of alt. health influencers during the COVID-19 pandemic. I analyse the self-presentation strategies used by four alt. health influencers to achieve visibility and status on Instagram over a 12-month period from 11 March 2020, when the pandemic was declared by the World Health Organisation. My analysis reveals the ways in which these influencers appeal to the utopian discourses of early web culture and the underlying principles of wellness culture to build and sustain an online following. While early accounts of micro-celebrity treat participatory culture as democratising and progressive, this article demonstrates how the participatory affordances of social media have been exploited to spread misinformation, conspiratorial thinking and far-right extremism. These findings develop previous work on ‘conspirituality’ by demonstrating how wellness culture and web culture can coalesce for authoritarian ends.


2022 ◽  
pp. 216-233
Author(s):  
Shuojia Guo

In the digital age, the rise of social media has enabled the fan culture transitioning from “static” consumption to “dynamic” interaction. This is not only a result of the advancement of ICTs, but also a shift in digital communication driven by participatory culture. This chapter explores why social media in digital age have such a profound impact upon fandom. In particular, what is new with these fan communities that social media has done so much to enable. There is a blurring in the lines between fandom producers and consumers in the participatory fandom. Given the new forms of cultural production, fan culture has been enabled by social media and is more powerful than it was ever before. Finally, how the changing relationships between fans and producers have redefined the fandom economy.


2021 ◽  
Vol 13 (2) ◽  
pp. 314
Author(s):  
Riris Loisa ◽  
Diah Ayu Candraningrum ◽  
Lusia Savitri Setyo Utami ◽  
Lydia Irena

Tourism is one of Indonesia's leading sectors that has been seriously affected by the pandemic. This study aims to describe participatory culture in digital tourism marketing communication channels during the pandemic, through Instagram social media channels from micro-influencers, that focus on three priority tourism destinations that have been set by the government. By using the Participatory Media Culture Theory from Henry Jenkins, it is further studied how consumers and producers create cultural artifacts with commodity value. The research applied a netnographic method, the data were gathered and analyzed by the social media analysis application Analysis.io. The subject of research is the influencers and followers in 3 (three) Instagram accounts: @explorejogja, @indraseptianazhari, and @travelwithgerie, while the object of the research was the forms of participation as cultural artifacts in these accounts This study concludes that the participants build a participatory culture by the power of visual and narrative artifacts, as well as their spreadability. Further this research shows that (1) cultural artifacts in each account have their own characteristics, with similarities in the prosumer participation, where reposting becomes a cultural artifact that has its own power to form virtual relationships; (2) attractive visuals and informal guides in the form of narratives are also cultural artifacts that invite further involvement of participants, in the form of likes, comments, reposts, etc.; and (3) the presence of micro-influencers who are inherently intertwined with these accounts jointly contributing to the dissemination of content and their respective accounts, which in turn becomes a force for the spread of tourism marketing, especially during the pandemic. Pariwisata adalah salah satu sektor unggulan Indonesia yang terkena dampak serius dari pandemi ini. Penelitian ini bertujuan untuk mendeskripsikan budaya partisipatif dalam saluran komunikasi pemasaran pariwisata digital selama pandemi, melalui saluran media sosial Instagram dari mikro-influencer, yang berfokus pada tiga destinasi wisata prioritas yang telah ditetapkan oleh pemerintah. Dengan menggunakan Teori Budaya Media Partisipatif dari Henry Jenkins, lebih lanjut dipelajari bagaimana konsumen dan produsen menciptakan artefak budaya dengan nilai komoditas. Penelitian ini menggunakan metode netnografi, data dikumpulkan dan dianalisis dengan aplikasi analisis media sosial Analysis.io. Subjek penelitian adalah influencer dan followers di 3 (tiga) akun Instagram: @explorejogja, @indraseptianazhari, dan @travelwithgerie, sedangkan objek penelitian adalah bentuk partisipasi sebagai artefak budaya dalam akun tersebut. Penelitian ini menyimpulkan budaya partisipatori dibangun dengan kekuatan artefak visual dan naratif, serta daya sebarnya. Lebih lanjut, penelitian ini menunjukkan bahwa (1) artefak budaya di setiap akun memiliki ciri khas tersendiri, dengan kesamaan berupa partisipasi prosumer, dimana reposting menjadi artefak budaya yang memiliki kekuatan untuk membentuk hubungan virtual; (2) visual yang menarik dan panduan informal berupa narasi juga merupakan artefak budaya yang mengundang keterlibatan peserta lebih lanjut, dalam bentuk ekspresi rasa suka, komentar, repost, dll; dan (3) kehadiran micro-influencer yang secara inheren terjalin dengan akun-akun tersebut secara bersama-sama berkontribusi dalam penyebaran konten dan akunnya masing-masing, yang pada akhirnya menjadi kekuatan bagi penyebaran pemasaran pariwisata, khususnya di masa pandemi.


2021 ◽  
Vol 1 (2) ◽  
pp. 101-115
Author(s):  
Luea Ritter ◽  
Nancy Zamierowski

This paper examines how a systems sensing—or felt-sense—approach and orientation to inquiry and systemic constellation practice might help social change organizations cultivate capacities to better navigate complexity, both in their outer-facing work and internal dynamics as teams and as individuals. We present a pilot study of systemic constellation practice, sharing the experience of participants during and after the practice, as well as our own reflexive process. Currently an undertheorized and underutilized approach within systems thinking work, systems sensing and systemic constellation, can reveal less visible but nevertheless foundational dynamics at play in an organizational body, and can help create more awareness through widening ways of knowing in the organizational playground. We explore how the facilitated collective sense-making process of systemic constellation engages subtle ways of knowing specifically energetic, relational, and embodied knowing, building on what Heron and Reason (2008) have called an “extended epistemology.” As we suggest, these more subtle ways of knowing warrant further study, particularly as they may contribute to action research methods and foster a more participatory culture of transformation at both an organizational and societal level.


2021 ◽  
Vol 13 (2) ◽  
pp. 308
Author(s):  
Atikah Putri Adrilia Gultom

Advances in technology and the internet have fundamentally changed the way we consume media and generate innovation, including in the fields of advertising and marketing. Participatory culture and crowdsourcing by beauty vloggers change the power patterns (top-down, bottom-up or both) that the industry has in implementing advertising strategies. In addition, the strength of individuals in a participatory culture arises because of various media such as video blogs or websites that allow individuals to share comments and reviews. This situation provides an opportunity for beauty vloggers with the power they have to distribute their power, so that strength is not absolutely in the industry. Meanwhile, from the industry side, you can use beauty vlogger services to become a marketing strategy. This conceptual paper uses literature review and meta-synthesis methods to discuss the power possessed by beauty vloggers through participatory culture and crowdsourcing as well as linking it to Wardah cosmetic products as one of the products using the halal concept. The purpose of this research is to see the power possessed by beauty vloggers can influence the public using the local makeup brand Wardah and Wardah power as a local halal makeup brand so that it is attractive to Muslim women. Finally, the analysis of this conceptual paper shows that participatory culture and crowdsourcing have become very important entities in the dynamics of the advertising and marketing industry in the digital era.


2021 ◽  
Vol 1 (2) ◽  
pp. 33-51
Author(s):  
Daisy Abbott

When a theatrical performance is digitally broadcast live to cinemas, the limitations of temporal and spatial specificity are removed and the theatrical experience is simultaneously opened up to a wider audience and inherently altered. One such production, Coriolanus (Donmar Warehouse, 2013-14), starring an actor with a particularly enthusiastic online fan community, was broadcast to cinemas by National Theatre Live, where fans recorded it on digital devices, extracted clips and produced animated gifs, which they captioned to reinterpret the play, sharing them online, removed from their original context. The transformation of theatre texts to cinemas to social media platforms raises exciting questions related to how fans interact with culture both as consumers and as producers of new media texts. How do the different transformations (technical and actively fan-produced) affect both the narrative and the cultural experience? How do new texts function as surrogates for, and extensions of, the ‘official' narrative, as well as new interactive narratives in their own right? This paper addresses these questions in the context of a specific theatrical event as it crossed the boundary from a live, co-located experience first into cinema, and then into interactive hypertexts and memes. Drawing on theories of fandom and participatory culture, as well as post-Web 2.0 analyses of Internet behaviours, the paper examines fan production of new media texts and how they both transmit and transform the source narrative via interpretation, re-interpretation, and misinterpretation. Image Credit: Still of fromhiddleswithlove (2014)


2021 ◽  
Author(s):  
Lina Kaminskiene ◽  
◽  
Virginija Bortkevičienė ◽  
◽  

The paper discusses how the school microclimate could be improved within the school community, based on the results of a research carried out in 15 regional schools in Lithuania. The analysis is specifically focused on how the school community could be strengthened by improving the relationship between teachers and schools’ administration. Following the methodology of the thematic analysis, the paper highlights key issues which might be important to reconsider the formation of a positive relationship, internal communication, democratization of governance, reduction of competition between teachers, strengthening the confidence in the teacher, respect for each other as well as fostering an open, tolerant culture. The results of the research indicate the need to strengthen collaboration and engagement-based community: a need to develop a participatory culture, to develop teachers’ support systems, to rethink how to involve parents more actively into the school life, to ensure more effective feedback system (teachers-administration-parents). The paper also highlights a need to improve the emotional climate of schools, to develop clear guidelines for evaluating teachers’ activities, to ensure smooth internal communication, informing and involving teachers about planned changes, and allowing all members of the community to feel part of the organization, not only by informing about the activities being carried out, but also by enabling critical opinions to be expressed; to form different working groups involving different educators (e. g. primary school and subject teachers) on different issues of school performance development.


2021 ◽  
Author(s):  
Moritz Fink

Another book on The Simpsons? you might wonder. Isn’t the yellow cartoon troupe around the eponymous chaotic family somewhat worn-out? Perhaps you even ask yourself whether that nineties’ show is still on the air anyhow. Accolades such as "the best TV show of the twentieth century" or "the longest-running scripted series on American prime-time television" have elevated The Simpsons to the pop culture pantheon, while also suggesting the very vintage character of the program. But the label "The Simpsons" refers not just to a show that seems to belong to a bygone television era, it implies a rich narrative universe, including a set of iconic figures, familiar across continents and generations. Through lens of a transmedia studies, Understanding The Simpsons traces the franchise’s trajectory, from its original conception shaped by alternative media traditions to its astounding, long-lived impact as a cult phenomenon in popular culture. Examining the legacy of online fan forums and bootleg T-shirts from the show’s heyday in the early 1990s, as well as the meaning of The Simpsons in contemporary digital culture, this book demonstrates how one of the most popular comedy series of all time has redefined the intersections between the corporate media and participatory culture – and is alive indeed.


Babel ◽  
2021 ◽  
Author(s):  
Siwen Lu ◽  
Sijing Lu

Abstract The development of digital technology over the past two decades has made audiovisual products an indispensable way of entertainment and witnessed the emergence of new sociocultural phenomena, including the rise of participatory culture and civic engagement. Drawing on the Systemic Functional Linguistics-informed multimodality, this article compares some of the most distinct practices in official subtitles and fansubs in the complex sociocultural context of China. The aim is to examine how fansubbers manipulate semiotic resources to design highly innovative strategies and investigate how these interventionist practices maximize their visibility and increase the film’s participation. The results show that Chinese fansubbers tend to produce subtitles in a highly aesthetic, functional, and semiotically coherent way by breaking the conventions established by the professionals. This tendency is not only a reflection of their resistance and dissatisfaction with the official subtitles under the state constraints but also a manifestation of the rapidly developing participatory culture in this increasingly digitalized world.


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