DIGITAL CONTENT (CM2011)
‘Hearing Ordinary Voices: Cultural studies, Vernacular creativity, and digital
storytelling’ by Burgees
- Everyday cultural and media production are seen as a site of optimism and contestation for cultural
studies
- Digital divide based on hard access to information and communication technologies has shifted to
concerns around social inclusion and unevenness of access to ‘voice’
- Livingstone: argued that attention to content creation is crucial to the democratic agenda, positioning
new media users not merely as consumers but also as citizens
Cultural Studies and Participatory Media
- increase in consumer participation in media culture- growing visibility of blogs
- Threat of cyberbole around the growing accessibility and power of digital technologies combing with
their availability to use by ordinary people for radical or democratic ends
- Increased availability and power of digital technologies allow everyone to be a media participant
- Concern over the impact of blogging on journalism and knowledge production
- But the democratisation of technologies discourse is considered to posses and exercise more creativity
and agency
- Ubiquitous creativity is central to the present and future of labour and cultural citizenship
- Cultural studies has been shaped as a response to the social uptake of communications technologies
- It’s deeply concerned with the transformations wrought by this uptake
- often said that cultural studies was shaped around understanding and dignifying ordinary peoples lived
experiences and cultural practices
- Mass mediated popular culture was seen as a site of negotiation and political potential
- fandom has been constructed as a somewhat extraordinary mode of engagement with the product of
the mass media
- Jenkins: the most distinctive qualities of random weren’t its objects of choice but its psychological
intensity and textual productivity
- textual productivity isn’t as extraordinary nowadays
- Economic value has drifted along the value chain from the producer to the consumer and source of
cultural value shifted from cultural elites to cultural consumers
- Fan culture as neither entirely autonomous of the mass media and cultural industries nor passively
dependent on them
- Active audience is now a fact and commercial imperative - no longer requires complex theoretical
discussions of semiotic openness to consider the texts of new media to be emergent
- even when ordinary people become celebrities through their own creative efforts there is no transfer of
media power because they remain within the system of celebrity that is native and controlled by mass
media
- Creation is a disseminated proliferation
- The separation of everyday life from the systems of cultural production is not straightforward in
contemporary contexts
- The everyday is now ubiquitously part of the production logics of the creative industries
- Cultural production is now increasingly part of the logics of everyday life
- In place of resistance there is the potential for cultural participation and self-representation
- Third tendency: the articulation which is the radical subversion position also known as the direct
observes of uncritical populism
- Implies the conflation of progressive aesthetics with notions of resistance to the alienating and
deadening effects of passive consumerism is elicits and now the stuff of consumerism itself
,- Lomography: movement in which cheap plastic Russian cameras are used - resisting conformity and
artistic author and allow the free play of creative for ordinary people
- Democratic form of photography - offering resistance to the ways the rules of professional
photography repress ordinary creativity and continually redraw the boundaries between amateur
and professional
- However, this fetishised and aestheticised version of everyday life is not the territory in which we can
look for the spaces where ordinary people can exercise meaningful agency
Vernacular creativity and new media
- Include everyday cultural production and ordinary cultural producers int he field of alternative media
studies
- Every production and its place in identity-formation to a different place: to that of the originating
producer within everyday life
- Central placement of politics of ordinary participation through everyday cultural production shapes our
concerns toward access, self-representation and literary
- Vernacular creativity- describe creative practices that emerge from highly particular and non-elite
social contexts and communicative conventions
- Distinguish every language from institutional of official modes of expression
- Does not imply the reinvigoration of a preexisting pure or authentic folk culture placed in opposition
to the mass media but includes as part of the contemporary vernacular the experience of
commercial popular culture
- A productive articulation of consumer practices and knowledges with older, popular traditions and
communicative practices
- VC signifies the capacity to reduce cultural distance between the conditions of cultural production
and the everyday experiences form which they are derived to which they return
- Creativity: process by which available cultural resources are recombined in novel aways so that they
are both recognisable because of their familiar elements and create affective impact through innovative
process of this recombination
Digital storytelling as vernacular creativity
- VC used to describe the uses or affordances of new media for new or innovative narrative forms
- Digital storytelling: workshop based process in which ordinary people create their own short
autobiographical films that can be streamed online
- Media form and field of cultural practice: dynamic site of relations between textual arrangements
and symbolic conventions, technologies for production and conventions fo their use
- DS as a movement is designed to amplify the ordinary voice, remediate VC and legitimate is as a
autonomous and worthwhile contribution to public culture
- DS balances the ethics of democratic access with an aesthetic that aims to maximise relevance and
impact
- The personal narrative is central to the process of creating a story and gets prioritised over formal
experimentation or innovative new uses for technologies
- Digital stories are not commercial culture nor are they straightforward examples of the discourses of
dominant institutions, the authors- ordinary people are neither consumers no victims of surveillance
- Digital stories tend to be deeply felt, poignant and gently humorous, warmth, humanity
- Too often the people are reduced to the textually delegated, allegorical emblem of the critic’s own
activity
- For too long we have been interrupting the ordinary voice, speaking instead of listening
- Too often the people are reduced to the textually delegated allegorical emblem of the critics own
activity
- Distribution channels for digital stories remain limited and are under the control of the institutions that
provided the workshops
, - DS projects proliferate in a range of institutional contexts and the resulting weight of evidence
begins to accumulate
- The literacies requires for DS cross the divide between formal and informal learning
- Include learned skills like the ability to conceive and execute an effective narrative and use a
computer but also more intuitive modes of collecting and arranging textual elements
- DS works to remediate VC in new media contexts- based on everyday communicative practices
(telling personal stories, collecting and sharing personal images
- Communication is not to be understood narrowly as the exchange of information or ideas but as the
affective practice of the social
- DS is an example of creativity in the service of effective social communication
- The DS voiceovers represents the ‘I-voice’ - voice heard in sound closeup without reverb- the voice of
the spectator internalises as their own and that takes possession of the diegetic space
- Success in communication has become the art of reaching across the intervening spirits to touch
another body
- Digital story is a mean of becoming real to others on the basis of shared experience and affective
resonances
- Stock themes and cliches become shared lexical elements through which individual creativity can
work in the service of peer-to-peer communication, enabling access at either end of the creative
process
- If working within a politics of participation one needs to learn to listen to these autobiographical
narratives without condemning the people who made them as dupes of ideology
- When we do listen, we realise that if ordinary people have the opportunity to create content for
public consumption they choose to use this opportunity to talk about what the serious business of
human experiences mean to them
- Task for cultural studies isn’t to speak heroically on behalf of ordinary voices but to find ways to
understand and engage with the full diversity of existing and merging media contexts in which they
are or aren’t being heard
‘Mediatisation or mediation? Alternative understandings of the
emergent space of digital storytelling’ by Couldry
- (Digital storytelling) Telling personal stories through digital forms, storing, and exchanging those stories
in sites that wouldn’t exist without the world wide web
- Because of the remediation capacity of digital media the stories have multiple possibilities for
transmission, retransmission and transformation
- DS represents a novel distribution of a scarce resource using a shared infrastructure
- It has implications for the sustained or expansion of democracy
- Provides a good opportunity to clarify the respective advantages and disadvantages of these
concepts in the course of developing our understanding of the social life of DS
Conceptual background
- Mediatisation: useful attempt to concentrate our focus on a specific transformative logic or mechanism
that is understood to do something distinctive to particular processes, objects and fields
- A distinctive and consistent transformation that can be understood properly only if seen as party of a
wider transformation of social and cultural life through media operating from a single source in a
common direction, transformation of society by media
- Spreading of media forms to spaces of contemporary life that are required to be re-presented
through media forms
- Activity is mostly performed through interaction with a medium
- Mediatisation starts from the notion of replication- spreading of media forms to spaces of
contemporary life that are required to be re-presented through media forms
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