Table Of Content

The Social Media Reader This page intentionally left blank The Social Media Reader Edited by Michael Mandiberg a NEW YORK UNIVERSITY PRESS New York and London NEW YORK UNIVERSITY PRESS New York and London www.nyupress.org © 2012 by New York University All rights reserved Creative Commons Attribution NonCommercial ShareAlike (CC BY-NC-SA) license References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. Library of Congress Cataloging-in-Publication Data The social media reader / edited by Michael Mandiberg. p. cm. Includes bibliographical references and index. ISBN 978–0–8147–6405–3 (cl : alk. paper) ISBN 978–0–8147–6406–0 (pb : alk. paper) ISBN 978–0–8147–6407–7 (ebook) ISBN 978–0–8147–6302–5 (ebook) 1. Social media. 2. Technological innovations—Social aspects. I. Mandiberg, Michael. HM742.S6284 2012 302.23'1—dc23 2011038308 The following work bears Create Commons Attribution (CC BY) license: “Sharing Nicely: On Shareable Goods and the Emergence of Sharing as a Modality of Economic Production” by Yochai Benkler The following works bear Create Commons Attribution ShareAlike (CC BY-SA) license: “The People Formerly Known as the Audience” by Jay “REMIX: How Creativity Is Being Strangled by the Law” Rosen by Lawrence Lessig “Open Source as Culture/Culture as Open Source” by “Your Intermediary Is Your Destiny” by Fred Von Lohmann Siva Vaidhyanathan “On the Fungibility and Necessity of Cultural Freedom” “What Is Web 2.0?” by Tim O’Reilly by Fred Benenson “What Is Collaboration Anyway?” by Adam Hyde, “Giving Things Away Is Hard Work: Three Creative Mike Linksvayer, kanarinka, Michael Mandiberg, Marta Commons Case Studies on DIY” by Michael Mandiberg Peirano, Sissu Tarka, Astra Taylor, Alan Toner, and “Gin, Television, and Social Surplus” by Clay Shirky Mushon Zer-Aviv “Between Democracy and Spectacle: The Front-End and “Participating in the Always-On Lifestyle” by danah boyd Back-End of the Social Web” by Felix Stalder “From Indymedia to Demand Media: Journalism’s “DIY Academy? Cognitive Capitalism, Humanist Visions of Its Audience and the Horizons of Democ- Scholarship, and the Digital Transformation” by Ashley racy” by C. W. Anderson Dawson “Phreaks, Hackers, and Trolls and the Politics of Trans- The following work bears Creative Commons Attribu- gression and Spectacle” by E. Gabriella Coleman tion NonCommercial ShareAlike “The Language of Internet Memes” by Patrick Davison (CC BY-NC-SA) license: “The Long Tail” by Chris Anderson “Quentin Tarantino’s Star Wars?” by Henry Jenkins New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books. Manufactured in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments ix Introduction 1 Michael Mandiberg Part I: Mechanisms 1 The People Formerly Known as the Audience 13 Jay Rosen 2 Sharing Nicely: On Shareable Goods and the Emergence 17 of Sharing as a Modality of Economic Production Yochai Benkler 3 Open Source as Culture/Culture as Open Source 24 Siva Vaidhyanathan 4 What Is Web 2.0? Design Patterns and Business Models 32 for the Next Generation of Software Tim O’Reilly 5 What Is Collaboration Anyway? 53 Adam Hyde, Mike Linksvayer, kanarinka, Michael Mandiberg, Marta Peirano, Sissu Tarka, Astra Taylor, Alan Toner, Mushon Zer-Aviv Part II: Sociality 6 Participating in the Always-On Lifestyle 71 danah boyd | v 7 From Indymedia to Demand Media: Journalism’s Visions 77 of Its Audience and the Horizons of Democracy C. W. Anderson Part III: Humor 8 Phreaks, Hackers, and Trolls: The Politics of 99 Transgression and Spectacle E. Gabriella Coleman 9 The Language of Internet Memes 120 Patrick Davison Part IV: Money 10 The Long Tail 137 Chris Anderson Part V: Law 11 REMIX: How Creativity Is Being Strangled by the Law 155 Lawrence Lessig 12 Your Intermediary Is Your Destiny 170 Fred von Lohmann 13 On the Fungibility and Necessity of Cultural Freedom 178 Fred Benenson 14 Giving Things Away Is Hard Work: Three Creative 187 Commons Case Studies Michael Mandiberg Part VI: Labor 15 Quentin Tarantino’s Star Wars? Grassroots Creativity 203 Meets the Media Industry Henry Jenkins vi | Contents 16 Gin, Television, and Social Surplus 236 Clay Shirky 17 Between Democracy and Spectacle: The Front-End and 242 Back-End of the Social Web Felix Stalder 18 DIY Academy? Cognitive Capitalism, Humanist Scholarship, 257 and the Digital Transformation Ashley Dawson About the Contributors 275 Index 279 Contents | vii This page intentionally left blank Acknowledgments First and foremost, I thank the many authors who contributed to this volume. I thank both those who created new essays and those who gave their works a Creative Commons license that permitted me to use them here. If it were not for the freedom offered by these freely licensed texts, I would never have had the ability or inspiration to take on this project. Thank you for sharing. I conceived of this anthology while preparing a seminar on social media. The absence of any critical anthology prompted me to collect the writings that I thought were most important. The realization that many of these were Creative Commons licensed inspired me to transform this reading list into a table of contents for this book. I wish to thank the Department of Media Cul- ture at the College of Staten Island, City University of New York, for its support of this project: C. W. Anderson, Cynthia Chris, Jeanine Corbet, David Gerstner, Janet Manfredonia, Tara Mateik, Edward D. Miller, Sherry Millner, Jason Simon, Matthew Solomon, Valerie Tevere, Cindy Wong, Bilge Yesil, and Ying Zhu. I am indebted to my colleagues at the CUNY Graduate Center: Steve Brier, Ashley Dawson, and Matthew Gold. I am grateful to the provost, William J. Fritz, for the support of the Provost’s Research Grant and to Dean Christine Flynn Saulnier and former dean Francisco Soto for their support of my research leaves and for the Dean’s Summer Research Assistantship. I edited this anthology during a leave as a senior fellow at Eyebeam Cen- ter for Art and Technology, and I am deeply indebted to Eyebeam for the material support for this period of research and for the context from which to produce such a collection. Amanda McDonald Crowley offered me such a generous period of serious creative research, and Steve Lambert constantly pushed me to live, act, and create in line with my beliefs. I want to thank everyone at Eyebeam, including Ayah Bdeir, Jacob Ciocci, Jon Cohrs, Sarah Cook, Jeff Crouse, Patrick Davison, Jennifer Dopazo, Stephen Duncombe, Clara Jo, John Johnson, Simon Jolly, Emma Lloyd, Qimei Luo, Marisa Olson, Stephanie Pereira, Marc Schiller, Roddy Schrock, Brooke Singer, Marko Tandefelt, and Addie Wagenknecht. | ix